Film Consciousness

From Phenomenology to Deleuze

Häftad, Engelska, 2008

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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.

Produktinformation

Utgivningsdatum2008-03-11
Mått152 x 229 x 12 mm
Vikt308 g
FormatHäftad
SpråkEngelska
Antal sidor227
FörlagMcFarland & Co Inc
ISBN9780786433346

Tillhör följande kategorier

Film inom Kultur
Filosofiska discipliner inom Filosofi och religion

Table of ContentsAcknowledgments Preface Introduction 1. PHENOMENOLOGY AND FILMOrigins The Spectrum of Film Consciousness Dialectic Misgivings 2. PHENOMENOLOGICAL GROUNDINGRealist Theory Real to Reel Lifeworld Encounters Intentionality Phenomenological Hermeneutics Gadamer’s Play 3. BODY AND TRANSCENDENCEMerleau-Ponty’s Embodiment Expression to Meaning Bazin’s Ontology The Negating Self Transcendental Survival 4. REEL TIMETemporal Objectivities Self-Constituting Flux Internal Time-Consciousness Future Expectation Bergson: Movement and Intermediate Imagery Reelising Memory Bridging Gaps 5. WALTER BENJAMIN: THE NEW REALM OF FILM CONSCIOUSNESSMaterialism and Allegory Dialectical Images Mechanical Reproduction and Aura Returning the Gaze: Aura Transformed Benjamin and Surrealism Distraction and Innervation 6. DELEUZE AND CINEMAMontage and Movement-Image Eisenstein Montage Imaging Thought Process Affectivity and the Interval Vertov and the Machinic Liquid Subjectivity 7. MARKING TIMEThinking Otherwise Forks of Time Aberrance and Problem Ideas The Split Self Time-Out-of-Joint Film Events Outside of Film Chapter Notes Bibliography Index