Cinematic Mode of Existence

Halbe Hessel Kuipers is Lecturer in Film Studies at the University of Amsterdam, the Netherlands.

• Preface: Cinema TodayIntroduction: Moving Images Beyond Part I: ON PERCEPTS1. What is a Perspective? In Castaing-Taylor and Paravel’s Leviathan2. The Nature of the Image in the Cantrills’ The Room of Chromatic MysteryPart II: ON AFFECTS3. Movement, Affect, and Perspective in Yasujiro Ozu’s Cinema4. The Image of Nature in de Putter’s It’s Been a Lovely DayPart III: ON IMAGINATIONS5. Our Perspective, or What is Haunting? In the Work of Renzo Martens6. The Spirit of the Gaze in the Work of Apichatpong Weerasethakul7. The Cosmopraxis of Imagination in Alexander, van Brummelen & de Haan’s Stones Have Laws8. If an Image is a Cosmos, Is the Camera then a Cosmic-eye? A Dialogue with Sebastian WiedemannNotesBibliographyIndex

How does the cinema world? This question haunts Kuipers’ A Cinematic Mode of Existence. What techniques of existence are generated here, at the interstices where the images catch perspectives in the making? And how do these perspectives, emergent forces of life-living, push up against the urgency of a more-than-human angling, a life lived artfully in difference without separability?