Phenomenology and the Future of FilmPhenomenology and the Future of Film



Using hybrid phenomenological approaches to film, this book focuses on how moving images are 'experienced' and 'encountered' as well as 'read' and 'viewed'.

Author: J. Chamarette

Publisher: Springer

ISBN: 9781137283740

Category:

Page: 271

View: 421

Using hybrid phenomenological approaches to film, this book focuses on how moving images are 'experienced' and 'encountered' as well as 'read' and 'viewed'. Its close engagements with films and installations by four contemporary French filmmakers explore the limits and possibilities of 'cinematic' subjectivity.

Film ConsciousnessFilm Consciousness



The first half of the book focuses on understanding the elements of the film experience--and its associated consciousness--through the descriptive tools of phenomenology.

Author: Spencer Shaw

Publisher: McFarland

ISBN: 9780786433346

Category:

Page: 227

View: 785

The notion of film consciousness is one that has played around various film and philosophical discourses without ever really surfacing as a cogent theory. Representing the first major expression of film consciousness as a tangible concept, this critical study revisits notions of memory, retentional consciousness, narrative expectation, and spatio-temporal perception while also analyzing several major films. The first half of the book focuses on understanding the elements of the film experience--and its associated consciousness--through the descriptive tools of phenomenology. The second part develops the idea of film consciousness as a unique vision of the world and as a large element in the human understanding of reality. Throughout the work, the author combines the ideas of philosophers and film theorists from phenomenology--such as Husserl, Merleau-Ponty, Bazin, and Kracauer--with the postmodernist work of Deleuze and transitional theorists Bergson and Benjamin.

The Routledge Companion to Cinema GenderThe Routledge Companion to Cinema Gender



There are many future directions for feminist filmphenomenology, and many of those intersect with the lived experience of others who have been historically and culturally marginalized. Film-phenomenologies or studies of filmsensation in ...

Author: Kristin Lené Hole

Publisher: Taylor & Francis

ISBN: 9781317408055

Category:

Page: 492

View: 567

Comprised of 43 innovative contributions, this companion is both an overview of, and intervention into the field of cinema and gender. The essays included here address a variety of geographical contexts, from an analysis of cinema. Islam and women and television under Eastern European socialism, to female audience reception in Nigeria, to changing class and race norms in Bollywood dance sequences. A special focus is on women directors in a global context that includes films and filmmakers from Asia, Africa, Australia, Europe, North and South America. The collection also offers a solid overview of feminist contributions to thinking on genre from the "chick flick" to the action or Western film, to film noir and the slasher. Readers will find contributions on a variety of approaches to spectatorship, reception studies and fandom, as well as transnational approaches to star studies and essays addressing the relationship between feminist film theory and new media. Other topics include queer and trans* cinema, eco-cinema and the post-human. Finally, readers interested in the history of film will find essays addressing the methodological dimensions of feminist film history, essays on silent and studio era women in film, and histories of female filmmakers in a variety of non-Western contexts.

The Palgrave Handbook of the Philosophy of Film and Motion PicturesThe Palgrave Handbook of the Philosophy of Film and Motion Pictures



In recent years there have been no shortage of applications of specific schools of phenomenology to film (e.g. ... Phenomenology and the Future of Film (Basingstoke: Palgrave Macmillan, 2012); Vivian Sobchack, Carnal Thoughts: ...

Author: Noël Carroll

Publisher: Springer Nature

ISBN: 9783030196011

Category:

Page: 1061

View: 366

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject.

Female Agencies and Subjectivities in Film and TelevisionFemale Agencies and Subjectivities in Film and Television



Sara Heinämaa, “Simone de Beauvoir's Phenomenology of Sexual Difference,” Hypatia, no. ... Jenny Chamarette, Phenomenology and the Future of Film: Rethinking Subjectivity beyond French Cinema (New York: Palgrave Macmillan, 2012), 53.

Author: Diğdem Sezen

Publisher: Springer Nature

ISBN: 9783030561000

Category:

Page:

View: 124

Hermeneutics of the Film WorldHermeneutics of the Film World



considerations made for the most part away from the screen and in the absence of film images, is always based on some previous sort of film ... Phenomenology and the Future of Film: Rethinking Subjectivity Beyond French Cinema.

Author: Alberto Baracco

Publisher: Springer

ISBN: 9783319654003

Category:

Page: 321

View: 871

This book identifies a new methodological strategy for the interpretation of film philosophizing. Many recent works in film philosophy, adopting the approach identified with the term film as philosophy, have considered film as capable of doing philosophy. Focused on the basic relationship between film and filmgoer, the proposed method is founded on the concept of the film world. Combining Merleau-Ponty’s and Ricœur’s philosophies, and reconsidering Goodman’s theory of worldmaking, the film world becomes the hermeneutic horizon from which film philosophical thought can emerge. The book shows how Ricœurian methodology has the potential to provide a valuable resource for film studies by inviting scholars to consider film interpretation in terms of film world hermeneutics.

Film BodiesFilm Bodies



... The Skin of the Film; Barker, The Tactile Eye; Bolton, Film and Female Consciousness; Martine Beugnet, Cinema and Sensation (Edinburgh: Edinburgh University Press, 2007); Jenny Chamarette, Phenomenology and the Future of Film: ...

Author: Katharina Lindner

Publisher: Bloomsbury Publishing

ISBN: 9781838608545

Category:

Page: 320

View: 696

The representation of gender and sexuality is well-explored territory in film studies. In Film Bodies, Katharina Lindner takes existing debates into a new direction and integrates queer and feminist theory with film phenomenology. Drawing on a broad range of sources, Lindner explores the female body's presence in a range of genres including the dance film, the sports film and queer cinema. Moving across mainstream and independent cinema, Lindner provides detailed 'textural' analyses of Black Swan, The Tango Lesson, 2 Seconds, Offside, Tomboy and Girlhood and discusses the queer feminist encounters these films can give rise to. This provocative book is of vital interest to students and researchers of queer cinema, queer/feminist theory, embodiment and affect and offers a unique new way of understanding the relationship between queerness, feminism, the body and cinema.

A Dictionary of Film StudiesA Dictionary of Film Studies



His writings are part of a broader current of phenomenological thinking in French *film criticism (which also includes ... Chamarette, Jenny Phenomenology and the Future of Film: Rethinking Subjectivity Beyond French Cinema (2012).

Author: Annette Kuhn

Publisher: Oxford University Press

ISBN: 9780192568045

Category:

Page: 576

View: 655

A Dictionary of Film Studies covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field, and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally. Indices of films and filmmakers mentioned in the text are included for easy access to relevant entries. The dictionary also has 13 feature articles on popular topics and terms, revised and informative bibliographies for most entries, and more than 100 web links to supplement the text.

Sensuous CinemaSensuous Cinema



Carter, S. G., What Moroccan Cinema?: A Historical and Critical Study, 1956-2006, Lanham: Lexington Books, 2009. Chamarette, J., Phenomenology and the Future of Film: Rethinking Subjectivity Beyond French Cinema, New York: Palgrave ...

Author: Kaya Davies Hayon

Publisher: Bloomsbury Publishing USA

ISBN: 9781501335990

Category:

Page: 192

View: 334

Sensuous Cinema: The Body in Contemporary Maghrebi Film examines a cluster of recent films that feature Maghrebi(-French) people and position corporeality as a site through which subjectivity and self-other relations are constituted and experienced. These films are set in and between the countries of the Maghreb, France and, to a lesser degree, Switzerland, and often adopt a sensual aesthetic that prioritizes embodied knowledge, the interrelation of the senses and the material realities of emotional experience. However, despite the importance of the body in these films, no study to date has taken corporeality as its primary point of concern. This new addition to the Thinking Cinema series interweaves corporeal phenomenology with theological and feminist scholarship on the body from the Maghreb and the Middle East to examine how Maghrebi(-French) people of different genders, ethnicities, sexualities, ages and classes have been represented corporeally in contemporary Maghrebi and French cinemas. Via detailed textual and phenomenological analyses of films such as Red Satin (Amari 2002), Exiles (Gatlif 2004), Couscous (Kechiche 2007) and Salvation Army (Taïa 2014), Kaya Hayon Davies conveys the pivotal role that corporeality plays in articulating identity and the emotions in these films.

The Body and the ScreenThe Body and the Screen



Carroll, Noël, Mystifying Movies: Fads and Fallacies in Contemporary Film Theory, New York: Columbia University Press, 1988. Chamarette, Jenny, Phenomenology and the Future of Film: Rethinking Subjectivity beyond French Cinema, ...

Author: Kate Ince

Publisher: Bloomsbury Publishing USA

ISBN: 9781623566265

Category:

Page: 224

View: 229

Winner of the British Association of Film, Television and Screen Studies Best Book Prize 2018 Since the 1980s the number of women regularly directing films has increased significantly in most Western countries; in France, Claire Denis and Catherine Breillat have joined Agnès Varda in gaining international renown, while British directors Lynne Ramsay and Andrea Arnold have forged award-winning careers in feature film. This new volume in the “Thinking Cinema” series draws on feminist philosophers and theorists from Simone de Beauvoir on to offer readings of a range of the most important and memorable of these films from the 1990s and 2000s, focusing as it does so on how the films convey women's lives and identities. Mainstream entertainment cinema traditionally distorts the representation of women, objectifying their bodies, minimizing their agency, and avoiding the most important questions about how cinema can "do justice" to female subjectivity. Kate Ince suggests that the films of independent women directors are progressively redressing the balance, reinvigorating both the narratives and the formal ambitions of European cinema. Ince uses feminist philosophers to interpret such films as Sex Is Comedy, Morvern Callar, White Material, and Fish Tank anew, suggesting that a philosophical understanding of female subjectivity as embodied and ethical should underpin future feminist film study.

The Future of an IllusionThe Future of an Illusion



10 While it is true that all film recalls "the conceptual apparatus of phenomenology," it is the tautological structure of experimental film that most closely mirrors the phenomenological Gestalt, in that the films themselves are ...

Author: Constance Penley

Publisher: U of Minnesota Press

ISBN: 0816617724

Category:

Page: 207

View: 342

The Future of an Illusion was first published in 1989. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. The Future of an Illusion documents the pivotal role Constance Penley has played in the development of feminist film theory. Penley analyzes the primary movements that have shaped the field: the conjunction of feminism, film theory, and psychoanalysis, and the inherent debates surrounding the politics of women and representation. These debates center on the position of women in the classical Hollywood narrative, the construction of the spectator's desire in pornography and eroticism, and the implicitly male bias in psychoanalytically oriented film theory. Essential to anyone studying the sexual policies of representation, The Future of an Illusion ranges from avant-garde films to video, popular cinema, television, literature, and critical and cultural theory. Constance Penley is associate professor of English and film studies at the University of Rochester. A co-editor of the journal Camera Obscura,she is the editor of Feminism and Film Theory.

Cinematic Intermedialities and Contemporary Holocaust MemoryCinematic Intermedialities and Contemporary Holocaust Memory



The Lumière Galaxy: Seven Key Words for the Cinema to Come. New York: Columbia University Press. Chamarette, J. (2012). Phenomenology and the Future of Film: Rethinking Subjectivity Beyond French Cinema. Basingstoke: Palgrave Macmillan.

Author: Victoria Grace Walden

Publisher: Springer

ISBN: 9783030108779

Category:

Page: 217

View: 703

This book explores the growing trend of intermediality in cinematic representations of the Holocaust. It turns to the in-betweens that characterise the cinematic experience to discover how the different elements involved in film and its viewing collaborate to produce Holocaust memory. Cinematic Intermedialities is a work of film-philosophy that places a number of different forms of screen media, such as films that reassemble archive footage, animations, apps and museum installations, in dialogue with the writing of Deleuze and Guattari, art critic-cum-philosopher Georges Didi-Huberman and film phenomenologies. The result is a careful and unique examination of how Holocaust memory can emerge from the relationship between different media, objects and bodies during the film experience. This work challenges the existing concentration on representation in writing about Holocaust films, turning instead to the materials of screen works and the spectatorial experience to highlight the powerful contribution of the cinematic to Holocaust memory.

James Joyce and the Phenomenology of FilmJames Joyce and the Phenomenology of Film



Paralleling ideas—but not necessarily techniques—already being utilized in early films, in Ulysses, Joyce produces Hugo Münsterberg's hypothesized future cinema; Joyce prompts the reader to 'move in strange curves', 'every motion ...

Author: Cleo Hanaway-Oakley

Publisher: Oxford University Press

ISBN: 9780191081552

Category:

Page: 208

View: 504

James Joyce and the Phenomenology of Film reappraises the lines of influence said to exist between Joyce's writing and early cinema and provides an alternative to previous psychoanalytic readings of Joyce and film. Through a compelling combination of historical research and critical analysis, Cleo Hanaway-Oakley demonstrates that Joyce, early film-makers, and phenomenologists (Maurice Merleau-Ponty, in particular) share a common enterprise: all are concerned with showing, rather than explaining, the 'inherence of the self in the world'. Instead of portraying an objective, neutral world, bereft of human input, Joyce, the film-makers, and the phenomenologists present embodied, conscious engagement with the environment and others: they are interested in the world-as-it-is-lived and transcend the seemingly-rigid binaries of seer/seen, subject/object, absorptive/theatrical, and personal/impersonal. This book re-evaluates the history of body- and spectator-focused film theories, placing Merleau-Ponty at the centre of the discussion, and considers the ways in which Joyce may have encountered such theories. In a wealth of close analyses, Joyce's fiction is read alongside the work of early film-makers such as Charlie Chaplin, Georges Méliès, and Mitchell and Kenyon, and in relation to the philosophical dimensions of early-cinematic devices such as the Mutoscope, the stereoscope, and the panorama. By putting Joyce's literary work—Ulysses above all—into dialogue with both early cinema and phenomenology, this book elucidates and enlivens literature, film, and philosophy.

Phenomenalism Phenomenology and the Question of TimePhenomenalism Phenomenology and the Question of Time



For example, one can film a movie by constructing its events in reverse and then through editing reverse its direction again so that the film conveys a future direction without affecting the projecting apparatus itself.

Author: Adam Berg

Publisher: Lexington Books

ISBN: 9781498503730

Category:

Page: 268

View: 325

Phenomenalism, Phenomenology and the Question of Time: A Comparative Study of the Theories of Mach, Husserl, and Boltzmann explores comparative analysis of the concept of phenomenology in relation to Mach’s, Boltzmann’s and Husserl’s works on time. It also explores whether or not phenomenology can be naturalized and the scope of its relation to the question of time, experience, physical processes, and irreversibility./span

The Past is the Present It s the Future TooThe Past is the Present It s the Future Too



It sustains a sophisticated phenomenology of perception (involving impression, retention and protention) that this chapter also sets out to define. Film interacts with the photographic, the pictorial and the filmic to confront the ...

Author: Christine Ross

Publisher: Bloomsbury Publishing USA

ISBN: 9781441147745

Category:

Page: 360

View: 309

The term 'temporality' often refers to the traditional mode of the way time is: a linear procession of past, present and future. As philosophers will note, this is not always the case. Christine Ross builds on current philosophical and theoretical examinations of time and applies them to the field of contemporary art: films, video installations, sculpture and performance works. Ross first provides an interdisciplinary overview of contemporary studies on time, focusing on findings in philosophy, psychology, sociology, communications, history, postcolonial studies, and ecology. She then illustrates how contemporary artistic practices play around with what we consider linear time. Engaging the work of artists such as Guido van der Werve, Melik Ohanian, Harun Farocki, and Stan Douglas, allows investigation though the art, as opposed to having art taking an ancillary role. The Past is the Present; It's the Future Too forces the reader to understand the complexities of the significance of temporal development in new artistic practices.

The Time of the CrimeThe Time of the Crime



Domietta Torlasco researches the relationship between time and vision as it emerges in five Italian motion pictures from the sixties and seventies.

Author: Domietta Torlasco

Publisher: Stanford University Press

ISBN: 0804758026

Category:

Page: 134

View: 256

Domietta Torlasco researches the relationship between time and vision as it emerges in five Italian motion pictures from the sixties and seventies.

Phenomenology of FilmPhenomenology of Film



In writings such as “The Question Concerning Technology,” Heidegger contemplates what he calls the “other beginning,” the future moment at which he believes the first epoch of the Western mind will come to completion and restart.

Author: Shawn Loht

Publisher: Lexington Books

ISBN: 9781498519038

Category:

Page: 220

View: 458

Phenomenology of Film: A Heideggerian Account of the Film Experience uses the philosophy of Martin Heidegger as a framework for addressing key issues in the philosophy of film. This study grapples with the question of how we can reconcile film as a popular entertainment medium with Heidegger’s own various critiques of popular media and culture throughout his career. Shawn Loht also explores topics such as the ontology of film and moving images; the phenomenological character of the viewer experience; film conceived as an art medium; and the function of films as vehicles for philosophical thought. He further discusses important concepts from Heidegger’s philosophy--Dasein, existentiality, world, art and poetry, and the nature of philosophy. The first four chapters take up these issues from a theoretical perspective. The remaining chapters provide robust application of the theoretical material to the films of three contemporary filmmakers: Terrence Malick, Michael Haneke, and David Gordon Green. As the first single-author monograph that takes up Heidegger’s relevance to film, Phenomenology of Film will be of particular interest to philosophers of film and specialists of film and media studies working in the intersection of phenomenology and film or phenomenological approaches to issues in popular culture.

CrashCrash



And, like the car careening toward the screen, phenomenological film theory challenges us to articulate the physical ... a useful point of entry into the question of what the future potential of phenomenology for film theory might be.

Author: Karen Beckman

Publisher: Duke University Press

ISBN: 9780822392767

Category:

Page: 318

View: 998

Artists, writers, and filmmakers from Andy Warhol and J. G. Ballard to Alejandro González Iñárritu and Ousmane Sembène have repeatedly used representations of immobilized and crashed cars to wrestle with the conundrums of modernity. In Crash, Karen Beckman argues that representations of the crash parallel the encounter of film with other media, and that these collisions between media offer useful ways to think about alterity, politics, and desire. Examining the significance of automobile collisions in film genres including the “cinema of attractions,” slapstick comedies, and industrial-safety movies, Beckman reveals how the car crash gives visual form to fantasies and anxieties regarding speed and stasis, risk and safety, immunity and contamination, and impermeability and penetration. Her reflections on the crash as the traumatic, uncertain moment of inertia that comes in the wake of speed and confidence challenge the tendency in cinema studies to privilege movement above film’s other qualities. Ultimately, Beckman suggests that film studies is a hybrid field that cannot apprehend its object of study without acknowledging the ways that cinema’s technology binds it to capitalism’s industrial systems and other media, technologies, and disciplines.

Film Phenomenology and AdaptationFilm Phenomenology and Adaptation



In adapting and readapting the stories of the past, our memories in turn adapt us, as we are opened to new experiences that reshape and reorientate ourselves towards the future, the kind of 'refiguration' that Ricoeur describes as ...

Author: David E. Richard

Publisher: Amsterdam University Press

ISBN: 9789048543052

Category:

Page: 248

View: 514

Film Phenomenology and Adaptation: Sensuous Elaboration argues that in order to make sense of film adaptation, we must first apprehend their sensual form. Across its chapters, this book brings the philosophy and research methodology of phenomenology into contact with adaptation studies, examining how vision, hearing, touch, and the structures of the embodied imagination and memory thicken and make tangible an adaptation's source. In doing so, this book not only conceives adaptation as an intertextual layering of source material and adaptation, but also an intersubjective and textural experience that includes the materiality of the body.

The Work of Terrence MalickThe Work of Terrence Malick



The chapter frames Benjamin's concept of the shape of time as a novel contribution to film-phenomenology and ... The Future. And the future. Is. NOW.' (Song to Song, 2017)' In May 2019, viewers of the 72nd Cannes Film Festival are the ...

Author: Gabriella Blasi

Publisher: Amsterdam University Press

ISBN: 9789048541515

Category:

Page:

View: 530

The Work of Terrence Malick: Time-Based Ecocinema develops a timely ecocinema approach to film analysis illuminated by Benjamin's notion of the turn of time. Current work on Malick's films emphasizes the spatial dynamics of his cinema, particularly as it pertains, from within a phenomenological framework, to the viewer's experience of films. This book redirects scholarly attention to the way Malick's directorial work shapes time and duration, laying new groundwork for the analysis of how films unsettle nature-culture binaries in modernity. The study performs this intervention through a rigorous engagement with Walter Benjamin's work on time, violence and technologies and the emergent figural approach to aesthetics in film studies. Each of these methods has important precedents in film studies and other fields. The combination of methods performed in this book contributes to understanding the relevance of a time-based approach to Malick's films and the practical implications of a time-based relation to history in contemporary ecocinema discourses.