The Structures of the Film Experience by Jean Pierre MeunierThe Structures of the Film Experience by Jean Pierre Meunier

The second and richest part of his account applies this theoretical framework to film experience, stipulating from the onset that the latter can only be analyzed as such by taking into account its most significant variations.

Author: Julian Hanich

Publisher: Amsterdam University Press

ISBN: 9789048537846


Page: 352

View: 528

For the first time this volume makes Jean-Pierre Meunier's influential thoughts on the film experience available for an English-speaking readership. Introduced and commented by specialists in film studies and philosophy, Meunier's intricate phenomenological descriptions of the spectator's engagement with fiction films, documentaries and home movies can reach the wide audience they have deserved ever since their publication in French in 1969.

The Cult Film ExperienceThe Cult Film Experience

It reenacts inparodic form the dialectic of expectation and innovation that marks our normal experienceofthe genre film, as weexpect certain conventions, but alsotake pleasure in the various waysthat thefilm defies those expectations ...

Author: J. P. Telotte

Publisher: University of Texas Press

ISBN: 9780292761858


Page: 236

View: 868

"Play it again, Sam" is the motto of cult film enthusiasts, who will watch their favorite movie over and over, "beyond all reason." What is the appeal of cult movies? Why do fans turn up in droves at midnight movies or sit through the same three-hanky classics from Hollywood's golden era? These are some of the questions J. P. Telotte and twelve other noted film scholars consider in this groundbreaking study of the cult film. The book identifies two basic types of cult films—older Hollywood movies, such as Casablanca, that have developed a cult following and "midnight movies," most notably The Rocky Horror Picture Show. Telotte, Bruce Kawin, and Timothy Corrigan offer thought-provoking discussions about why these two types of movies become cult films, the sort of audience they attract, and the needs they fulfill for that audience. Subsequent essays employ a variety of cultural, feminist, ideological, and poststructural strategies for exploring these films. In a section on the classical cult film, the movie Casablanca receives extensive treatment. An essay by T. J. Ross considers Beat the Devil as a send-up of cult films, while another essay by Wade Jennings analyzes the cult star phenomenon as personified in Judy Garland. "Midnight movie madness" is explored in essays on The Rocky Horror Picture Show, movie satires of the 1950s, science fiction double features, and horror thrillers. Illustrated with scenes from favorite movies and written for both fans and scholars, The Cult Film Experience will appeal to a wider audience than the "usual suspects."

The Multisensory Film ExperienceThe Multisensory Film Experience

A Cognitive Model of Experiental Film Aesthetics Luis Rocha Antunes. characters' experiences is being taken too literally. In other words, it is believed that one could experience the pain of the character swallowing a ball of fishhooks ...

Author: Luis Rocha Antunes

Publisher: Intellect Books

ISBN: 9781783206308


Page: 433

View: 295

When the lights dim in a movie theatre and the projector begins to click and whir, the light and sounds of the motion picture become the gateway to a multisensory experience. Moving beyond the oft-discussed perceptual elements of vision and hearing, The Multisensory Film Experience analyses temperature, pain and balance in order to argue that it is the experience of film that’s inherently multisensory, not the medium. Luis Rocha Antunes here explores the work of well-loved filmmakers Erik Jensen, Gus Van Sant and Ki-Duk Kim to offer new insights into how viewers experience films and understand their stories. This is an original contribution to an emerging field of research and will become essential reading for film scholars.

The Independent Film ExperienceThe Independent Film Experience

But if you're going to go the route of shooting on video and transferring to film , you really need an experienced camera person . ... And don't forget , it was transferred to film using the best process available .

Author: Kevin J. Lindenmuth

Publisher: McFarland

ISBN: 0786410752


Page: 244

View: 154

You see them on the video shelves, with titles such as Shadow Tracker, Psycho Girls, and The Blair Witch Project. Skeptically, perhaps, you rent one and slip it into the VCR. Hey, you think, this isn't so bad--sometimes actually quite good. Suddenly, you discover that there is a whole range of movies from filmmakers operating outside the studio system that have their own attractions that the big budget fare can't match. You have, of course, discovered the world of independent filmmaking. A fascinating group of independent film directors and producers, in interviews with the author, discuss their work and the state of the independent film industry at the end of the 20th century. Joe Bagnardi, Dennis Devine, Andrew Harrison, Jeff Leroy, Andrew Parkinson, Brett Piper, and 23 others cover such topics as the increased interest in independent films and how they are changing thanks to high-tech advances. These filmmakers vary widely in age, experience, formats and budgets--and choice of subject matter--but they all have a great passion for their work.

The Poetics of Radical Hope in Abderrahmane Sissako s Film ExperienceThe Poetics of Radical Hope in Abderrahmane Sissako s Film Experience

This idea serves to de-center the knowing subject from the locus of rationalities, experiences, and choices to emphasize relationships, affects, and emotions. Zegue Bamba, moreover, is the missing image for a movie that was not scripted ...

Author: Olivier-Jean Tchouaffe

Publisher: Lexington Books

ISBN: 9781498539821


Page: 162

View: 826

This book explores Sissako’s original cinematic vision, which tackles complex in-depth African realities with the power of imaginative excellence. Sissako’s work defies existing normative global geopolitics and conditions of knowledge and aesthetic production in Africa through radical hope and creative adaptation.

An Introduction to Film StudiesAn Introduction to Film Studies

We do this by bringing our knowledge and experience of previous films to bear in responding to a new film experience . One way to explain how spectators make meaning is by reference to schemas , a concept used in studies of the human ...

Author: Jill Nelmes

Publisher: Psychology Press

ISBN: 0415262690


Page: 532

View: 950

An Introduction to Film Studies has established itself as the leading textbook for students of cinema. This revised and updated third edition guides students through the key issues and concepts in film studies, and introduces some of the world's key national cinemas including British, Indian, Soviet and French. Written by experienced teachers in the field and lavishly illustrated with over 122 film stills and production shots, it will be essential reading for any student of film.Features of the third edition include:*full coverage of all the key topics at undergraduate level*comprehensive and up-to-date information and new case studies on recent films such as Gladiator , Spiderman , The Blair Witch Project, Fight Club , Shrek and The Matrix*annotated key readings, further viewing, website resources, study questions, a comprehensive bibliography and indexes, and a glossary of key terms will help lecturers prepare tutorials and encourage students to undertake independent study.Individual chapters include:*Film form and narrative*Spectator, audience and response*Critical approaches to Hollywood cinema: authorship, genre and stars*Animation: forms and meaning*Gender and film*Lesbian and gay cinema*British cinema*Soviet montage Cinema*French New Wave*Indian Cinema

Hermeneutics of the Film WorldHermeneutics of the Film World

In a more general perspective, according to Vivian Sobchack (1992), to describe film experience and study its phenomenology would somehow (and even naïvely) require to return to film, getting rid of the heavy burden of over a century of ...

Author: Alberto Baracco

Publisher: Springer

ISBN: 9783319654003


Page: 321

View: 837

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.

Phenomenology of FilmPhenomenology of Film

A Heideggerian Account of the Film Experience Shawn Loht. Kant is Heidegger's target here, Kant's account of teleological judgment brings the artwork too close, as Heidegger says, by virtue of sketching the artwork's power as just this ...

Author: Shawn Loht

Publisher: Lexington Books

ISBN: 9781498519038


Page: 221

View: 193

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.

The Oxford Handbook of Film TheoryThe Oxford Handbook of Film Theory

It is an expansive space offering room for the many, the multiple, the in- process and unfixed experiences of cinema as expressed by (again) the many, the multiple, the in- process, and unfixed people who experience it. Film experience ...

Author: Kyle Stevens

Publisher: Oxford University Press

ISBN: 9780190873929


Page: 713

View: 727

Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what "a movie" or "the cinematic" are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the 21st century was preoccupied, understandably, by digital technology's permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film's materiality towards timely questions concerning the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, this collection narrows in on the subject of film, not with a nostalgic sensibility, but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-Theory; Film Theory's Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close is Close Reading?; and The Turn to Experience.


Is the film's ' experience of things similar to our experience of things ? Indeed , should we even call the film - being's relationship with the content of film'experience ' ? If there are no objects how can there be an'experience ' of ...

Author: Daniel Frampton

Publisher: Wallflower Press

ISBN: 1904764843


Page: 274

View: 298

'Filmosophy' is a manifesto for a radically philosophical way of understanding cinema. The book coalesces 20th century ideas of film as thought into a practical theory of 'film-thinking', arguing that film style conveys poetic ideas through a constant dramatic 'intent' about the characters, spaces, and events of film.