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Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both "mine" and "another's." In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.
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.
In quotations ranging from offhand remarks to formal interviews and articles, past and present filmmakers review their work, the problems encountered and solved, and the complexities of cinematic art
- Author : Julian Hanich
- Publisher : Amsterdam University Press
- Release Date : 2019-09-06
- Genre : Biography & Autobiography
- Pages : 231
- ISBN : 9789048537846
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.
In our culture, watching movies is a universal experience – but understanding film may not be. The Film Experience reaches out to students, connecting their experiences watching movies with better understanding and knowledge of the medium's full scope. And with its game-changing new video program in LaunchPad Solo (see below), this thoroughly updated new edition makes it easier than ever to link each student’s personal viewing to a greater overall understanding of film. Timothy Corrigan and Patricia White’s classroom favorite is both authoritative and joyful about watching, analyzing, and understanding film. With clips from classic and contemporary films (Rear Window, Life of Pi, Moonrise Kingdom, Chinatown, and many others) plus hundreds of movie images and other graphics, the thoroughly revised new edition covers everything from editing to cinematography to narrative genres, all in a cultural context that reinforces why films and film study matter. The book's features—Form in Action, Film in Focus, and Concepts at Work —combine text, stills, and links to videos online to explore specific films, scenes, and trends in depth.
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.
Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity. He suggests that film defined a unique gaze, not only because it recorded many of the century's most important events, but also because it determined the manner in which they were received. Casetti begins by examining film's nature as a medium in an age obsessed with immediacy, nearness, and accessibility. He considers the myths and rituals cinema constructed on the screen and in the theater and how they provided new images and behaviors that responded to emerging concerns, ideas, and social orders. Film also succeeded in negotiating the different needs of modernity, comparing and uniting conflicting stimuli, providing answers in a world torn apart by conflict, and satisfying a desire for everydayness, as well as lightness, in people's lives. The ability to communicate, the power to inform, and the capacity to negotiate-these are the three factors that defined film's function and outlook and made the medium a relevant and vital art form of its time. So what kind of gaze did film create? Film cultivated a personal gaze, intimately tied to the emergence of point of view, but also able to restore the immediacy of the real; a complex gaze, in which reality and imagination were combined; a piercing gaze, achieved by machine, and yet deeply anthropomorphic; an excited gaze, rich in perceptive stimuli, but also attentive to the spectator's orientation; and an immersive gaze, which gave the impression of being inside the seen world while also maintaining a sense of distance. Each of these gazes combined two different qualities and balanced them. The result was an ever inventive synthesis that strived to bring about true compromises without ever sacrificing the complexity of contradiction. As Ca
"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."
- Author : Timothy and White Carrigan (Patricia)
- Publisher : Unknown
- Release Date :
- Genre : Uncategorized
- Pages : 231
- ISBN : OCLC:869485246
- Author : Olivier-Jean Tchouaffe
- Publisher : Unknown
- Release Date : 2017
- Genre : Art
- Pages : 162
- ISBN : 1498539815
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.
- Author : Corrigan
- Publisher : Unknown
- Release Date : 2017-11-10
- Genre : Uncategorized
- Pages : 231
- ISBN : 1319093523
Since the mid-eighties, more audiences have been watching Hollywood movies at home than at movie theaters, yet little is known about just how viewers experience film outside of the multiplex. This is the first full-length study of how contemporary entertainment technologies and media—from cable television and VHS to DVD and the Internet—shape our encounters with the movies and affect the aesthetic, cultural, and ideological definitions of cinema. Barbara Klinger explores topics such as home theater, film collecting, classic Hollywood movie reruns, repeat viewings, and Internet film parodies, providing a multifaceted view of the presentation and reception of films in U.S. households. Balancing industry history with theoretical and cultural analysis, she finds that today cinema's powerful social presence cannot be fully grasped without considering its prolific recycling in post-theatrical venues—especially the home.
In The Synergy of Film and Music: Sight and Sound in Five Hollywood Films, Peter Rothbart examines a handful of motion pictures to convey how a variety of elements work together to create a singular experience. Rothbart considers the aural and visual aspects of five representative films: West Side Story, Psycho, Empire of the Sun, Altered States, and American Beauty. After reviewing the various roles that music can serve in a film, as well as an overview of the film scoring process, the book looks at each film, examining them one musical cue at a time, so that the reader can watch the film while reading about each cue in real time. This unique analysis makes The Synergy of Film and Music a fascinating and instructive volume that both casual viewers and students of cinema will appreciate.
This edition provides a detailed look at the artistic and aesthetic principles and practices of editing for both picture and sound. It also contains up-to-date information on the influences of MTV and commercials, and new technologies.