ABSTRACT
The article discusses Adorno’s analysis of cinema at different moments of his oeuvre and presents a scarcely discussed text, written with the musician Hanns Eisler while both lived in Los Angeles, which has as its central theme the presence of music in the cinema. In addition, it tries to demonstrate how some essays written in the 1960s try to reconsider the cinema and to discuss its potentialities in dialogue with the so-called New German Cinema.
KEYWORDS:
Theodor W. Adorno; Hanns Eisler; New German Cinema; Critical Theory; Cinema