Relevant bibliographies by topics / Phenomenology of film

Academic literature on the topic 'Phenomenology of film'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Phenomenology of film"

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Puckett, Thomas F. N. "A Phenomenology of Film Experience." American Journal of Semiotics 15, no. 1 (2000): 311–18. http://dx.doi.org/10.5840/ajs200015/161/414.

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Harvey, Charles. "Phenomenology, Film and Religious Belief." Glimpse 6 (2004): 11–18. http://dx.doi.org/10.5840/glimpse200464.

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Tomasulo, Frank P. "Selected bibliography: Phenomenology and film." Quarterly Review of Film and Video 12, no. 3 (June 1990): 99–101. http://dx.doi.org/10.1080/10509209009361356.

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Hanich, Julian. "How Many Emotions Does Film Studies Need?" Projections 15, no. 2 (June 1, 2021): 91–115. http://dx.doi.org/10.3167/proj.2021.150204.

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A look at current emotion research in film studies, a field that has been thriving for over three decades, reveals three limitations: (1) Film scholars concentrate strongly on a restricted set of garden-variety emotions—some emotions are therefore neglected. (2) Their understanding of standard emotions is often too monolithic—some subtypes of these emotions are consequently overlooked. (3) The range of existing emotion terms does not seem fine-grained enough to cover the wide range of affective experiences viewers undergo when watching films—a number of emotions might thus be missed. Against this background, the article proposes at least four benefits of introducing a more granular emotion lexicon in film studies. As a remedy, the article suggests paying closer attention to the subjective-experience component of emotions. Here the descriptive method of phenomenology—including its particular subfield phenomenology of emotions—might have useful things to tell film scholars.
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Ince, Kate. "Feminist Phenomenology and the Film World of Agnès Varda." Hypatia 28, no. 3 (2013): 602–17. http://dx.doi.org/10.1111/j.1527-2001.2012.01303.x.

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AbstractThrough a discussion of Agnès Varda's career from 1954 to 2008 that focuses particularly onLa Pointe Courte(1954),L'Opéra‐Mouffe(1958), The Gleaners and I(2000), andThe Beaches of Agnes(2008), this article considers the connections between Varda's filmmaking and her femaleness. It proposes that two aspects of Varda's cinema—her particularly perceptive portrayal of a set of geographical locations, and her visual and verbal emphasis on female embodiment—make a feminist existential‐phenomenological approach to her films particularly fruitful. Drawing both directly on the work of Maurice Merleau‐Ponty and on some recent film‐ and feminist‐theoretical texts that have employed his insights, it explores haptic imagery and feminist strategy inThe Gleaners and I, the materialization of space characterizing Varda's blurring of fiction and documentary, and the dialectical relationship of people with their environment often observed in her cinema. It concludes that both Varda's female protagonists and the director herself may be said to perform feminist phenomenology in her films, in their actions, movement, and relationship to space, and in the carnality of voice and vision with which Varda's own subjectivity is registered within her film‐texts.
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Ferencz-Flatz, Christian, and Julian Hanich. "Editor’s Introduction: What is Film Phenomenology?" Studia Phaenomenologica 16 (2016): 11–61. http://dx.doi.org/10.5840/studphaen2016161.

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Nair, Kartik. "Toward a Phenomenology of Film Production." Discourse 44, no. 2 (March 2022): 158–80. http://dx.doi.org/10.1353/dis.2022.0016.

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Soman, S., J. Parameshwaran, and J. KP. "Films and fiction leading to onset of psycho-phenomenology: Case reports from a tertiary mental health center, India." European Psychiatry 41, S1 (April 2017): S747. http://dx.doi.org/10.1016/j.eurpsy.2017.01.1385.

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Mind is influenced by socio-cultural religious belief systems, experiences and attributions in the development of psychophenomenology. Film viewing is a common entertainment among young adults.ObjectivesInfluence of repetitive watching of films of fiction and horror genres on onset phenomenology in young adults.MethodTwo case reports on onset of psychotic features and mixed anxiety depressive phenomenology were seen in two patients aged 16 and 20 years respectively and based on the fantastic imagination created by films. The 28-year-old female patient diagnosed with schizoaffective disorder had onset at 16 years of age and the course of phenomenology was influenced by the fiction movie ‘Jumanji’ with partial response to medications over 10 years. The depressive and anxiety symptoms of less than 6 months duration of a 20-year-old male patient was influenced by film ‘Hannibal’ and responded to antidepressant and cognitive behavior therapy.ConclusionsHorror and fiction films can influence the thinking patterns and attribution styles of a young adult by stimulating fantasy thinking which if unrestrained can lead to phenomenology. Viewing films compulsively, obsessive ruminations on horror and fictional themes can lead to onset of psychopathology of both psychosis and neurotic spectrum. Further research on neurobiological, psychological correlates is needed. Parental guidance and restricted viewing of horror genre films with avoidance of repeated stimulatory viewing of same genre movies in children, adolescents, young adults and vulnerable individuals is required.Disclosure of interestThe authors have not supplied their declaration of competing interest.
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Fair, Alan. "Domietta Torlasco (2008) The Time of the Crime: Phenomenology, Psychoanalysis, Italian Film." Film-Philosophy 14, no. 1 (February 2010): 303–9. http://dx.doi.org/10.3366/film.2010.0012.

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Sinnerbrink, Robert. "Guest Editor's Introduction." Projections 13, no. 2 (June 1, 2019): 1–19. http://dx.doi.org/10.3167/proj.2019.130201.

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Since the early 1990s, phenomenology and cognitivism have become influential strands of inquiry in film theory. Phenomenological approaches remain focused on descriptive accounts of the embodied subject’s experiential engagement with film, whereas cognitivist approaches attempt to provide explanatory accounts in order to theorize cognitively relevant aspects of our experience of movies. Both approaches, however, are faced with certain challenges. Phenomenology remains a descriptive theory that turns speculative once it ventures to “explain” the phenomena upon which it focuses. Cognitivism deploys naturalistic explanatory theories that can risk reductively distorting the phenomena upon which it focuses by not having an adequate phenomenology of subjective experience. Phenomenology and cognitivism could work together, I suggest, to ground a pluralistic philosophy of film that is both descriptively rich and theoretically productive. From this perspective, we would be better placed to integrate the cultural and historical horizons of meaning that mediate our subjective experience of cinema.
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Dissertations / Theses on the topic "Phenomenology of film"

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Shaw, Spencer. "Showtime : the phenomenology of film consciousness." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/3045/.

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The thesis argues that the notion of film consciousness deepens a wide-range of philosophical issues in ways which are only accessible through film experience. These issues, directly related to the continental tradition, deal with consciousness, experience, intentionally and meaning. We look to the implications of the initial acts of film reproduction as it creates 'images' of the world which reconceptualise vision in terms of space, time and dimension. We move from ontology to experience and examine an aesthetic form with radical implications for spectator consciousness. These issues are explored from two philosophical positions. Firstly, phenomenology, especially Edmund Husserl and Maurice Merleau-Ponty. Secondly, the work of Gilles Deleuze who presents the most penetrating insights to date into film consciousness and its repercussions for thought and affectivity. The focus of this study is to draw together these two philosophical positions, showing their fundamental differences but also similarities where they exist. This approach is rarely attempted but the belief running through this thesis is that film is one arena which is invaluable for making such comparisons. It is argued philosophically that film writes large key phenomenological concepts on intentionality, time-consciousness and the relation of the lifeworld to the predicative. In terms of Deleuze, film is shown as a unique artform which in allowing us to link otherwise casts light on Deleuze's own complex system of thought. Chapters 1-3 are concerned with phenomenology and detail the role of film in terms of the lifeworld, intentionally, reduction and the transcendental in a way which has not been attempted elsewhere. The linking chapter on time (4) is used to introduce the work of Henri Bergson and its influence both on phenomenology's inner time-consciousness and Deleuze's fundamental categories of film movement and time imagery. The final two chapters look at the way film is reconfigured through montage and the implications of this for film's unique expression of movement and time.
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Richard, David Evan, Lisa Bode, and Jane Stadler. "Film Phenomenology and Adaptation: Words Made Flesh." Thesis, University of Queensland, 2017.

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Tomlinson, Andrew Simon. "Windows and souls : contrary imaginations in film." Thesis, University of Ulster, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268547.

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Laamanen, Carl. "The Address of the Soul: Phenomenology and the Religious Experience of Film." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1554287220304112.

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Hart, Blaize Robert. "In Visible Bodies: A Phenomenology of Sexuality and the Creation of Repressive Systems in Film." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors158768776757641.

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Macrae, David J. R. "The sensory screen : phenomenology of visual perception in early European avant-garde film." Thesis, University of Edinburgh, 2003. http://hdl.handle.net/1842/28518.

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At the beginning of the twentieth century, certain artists, writers, and philosophers became intrigued by the profound ways in which filmic images could pervade aspects of modern thought and experience. For them, film had the potential to reveal radical new dimensions of sensory phenomena. The early development of avant-garde film-making in Europe is culturally crucial not only for its historical and conceptual context of creative transition, but also for its dynamic exploration of processes of visual perception. The central objective of this thesis is to expose and engage these profound perceptual issues. The structural formation of the thesis entails the confluencing of material for analysis into a sequence of key areas comprising the central components of avant-garde cinematic visualisation. The visual implications of each area are analysed in specific depth, whilst acknowledging their respective interactivity. Significantly, the research applies analytic theories of phenomenology in order to focus incisively upon relevant early European avant-garde filmic imagery. The potential vitality of a phenomenological theorisation of early avant-garde film resides not only within their historical contemporaneity, but at the epistemological level of the mind’s cognitive engagement with the realms of creative visualisation. It is a system of analysis which aims to establish a nuanced phenomenological theory of visual perception as a matter of prime sustenance to historically crucial cinematic art forms.
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Britt, Tara Danielle. "Phenomenology, film and curriculum theory an inquiry into the intellectual persona of teachers /." Click here to access dissertation, 2007. http://www.georgiasouthern.edu/etd/archive/summer2007/tara_d_britt/britt_tara_d_200708_edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2007.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." In Education Administration, under the direction of Linda M. Arthur. ETD. Electronic version approved: December 2007. Includes bibliographical references (p. 140-144) and appendices.
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Childress, Kirby. "A Phenomenology of Closet Trauma: Visual Empathy in Contemporary French Film and Graphic Novels." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618915090413157.

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Morales, Matthew. "Concerning Virtual Reality and Corporealized Media: Exploring Video Game Aesthetics and Phenomenology." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7343.

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Since the birth of the New Hollywood blockbuster out of the Hollywood Renaissance in the 1970s, popular moving image media has continually exhibited an intense interest in play with Newtonian physics and tactile, immediate experience. As the entertainment industry has moved further away from analog and celluloid and deeper into a digital media space, we have begun to see new a new breed of media project that differently engages with our sensorium in order to newly use (and abuse) this interest. I term this digital media project “corporealized media.” Corporealized media, as I define it, refers to media that includes, but is not limited to, the current undertaking in virtual reality technology and other media that has the primary focus of calling attention to or recognizing the user’s physicality, corporeal form, and embodiment. Through phenomenological readings of contemporary corporealized works, I suggest that current popular use of corporealized media is potentially dangerous and inhibiting to society. It has the ability not just to inform aesthetics, but also to shape our greater understanding of our potential connections to others. Instead of embracing physical contraction, we should aim to collectively accept the possible expansion that abstraction in media allows.
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Wilson, Laura. "Physical spectatorship and the mutilation film." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/physical-spectatorship-and-the-mutilation-film(7443c1ca-02ca-4133-8598-333fc44df9e8).html.

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This thesis explores what I call 'physical spectatorship' as it is generated by a group of films concerned with the mutilation of the human body. Focusing on the representation of mutilation on the screen and the physical responses this evokes, the thesis is organised around the study of a series of dynamic engagements that reconfigure the film-viewer relationship; these include: corporeal mimicry and the cinematic visualisations of mutilation; generalised anxiety and experimental use of sound; and the nausea generated by audio-visual techniques that both signify and locate the filmic gut in the viewer's body. Combining close textual analyses with theoretical approaches, this thesis draws upon psychoanalytic, phenomenological and feminist theories of film and spectatorship. Throughout the chapters, my argument builds upon the work of Vivian Sobchack and Laura Marks in order to interrogate further what might be meant by the notion of the embodied spectator. The chapters explore this notion, alongside that of the film viewer, to generate a dialogue with previous theorists of the cinematic spectator, including Christian Metz and Richard Rushton. Exploring through close textual analyses the specific filmic techniques that generate intense physical responses, this thesis argues that the mutilation film demands a rethinking of some of the key categories in theories of spectatorship. Extending across national cinemas and reaching beyond conventional generic distinctions, the mutilation film produces a visceral aesthetic that has yet to be analysed. Focusing on particular aspects of the mutilation film, such as the assault narrative sequence, use of extreme frequencies and haptic sounds and images, the thesis offers detailed readings of the following texts: Dans Ma Peau (Marina de Van, 2002), Irréversible (Gaspar Noé, 2002), Saw II (Darren Lynn Bousman, 2005) Saw III (Darren Lynn Bousman, 2006) Saw IV (Darren Lynn Bousman, 2007) Saw V (David Hackl, 2008) Saw VI (Kevin Greutert, 2009) Saw 3D (Kevin Greutert, 2010), Hostel (Eli Roth, 2005), À l'intérieur (Alexandre Bustillo and Julien Maury, 2007), The Human Centipede: First Sequence (Tom Six, 2009) and The Human Centipede: Full Sequence (Tom Six, 2011).The analyses that form this thesis demonstrate the problems with separating notions of the 'spectator as textual construction' from that of the 'viewer as physically embodied'; yet these readings also indicate the necessity of continuing the task of conceptualising their interrelatedness, rather than simply using them interchangeably. The conclusion argues that the concept of physical spectatorship offers one way to understand how particular contemporary aesthetics have reconfigured the boundary between viewer and film.
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Books on the topic "Phenomenology of film"

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Richard, David Evan. Film Phenomenology and Adaptation. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463722100.

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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.
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Film consciousness: From phenomenology to Deleuze. Jefferson, N.C: McFarland & Co., 2008.

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Chamarette, Jenny. Phenomenology and the Future of Film. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283740.

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Torlasco, Domietta. The time of the crime: Phenomenology, psychoanalysis, Italian film. Stanford, Calif: Stanford University Press, 2008.

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The address of the eye: A phenomenology of film experience. Princeton, N.J: Princeton University Press, 1992.

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Sobchack, Vivian Carol. The address of the eye: A phenomenology of film experience. Princeton, N.J: Princeton University Press, 1992.

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Film and phenomenology: Toward a realist theory of cinematic representation. Cambridge: Cambridge University Press, 1991.

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Afterlives: Allegories of film and mortality in early Weimar Germany. New York: Bloomsbury, 2014.

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Walton, Saige. Cinema's Baroque Flesh. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089649515.

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In Cinema's Baroque Flesh, Saige Walton draws on the philosophy of Maurice Merleau-Ponty to argue for a distinct aesthetic category of film and a unique cinema of the senses: baroque cinema. Combining media archaeological work with art history, phenomenology, and film studies, the book offers close analyses of a range of historic baroque artworks and films, including Caché, Strange Days, the films of Buster Keaton, and many more. Walton pursues previously unexplored connections between film, the baroque, and the body, opening up new avenues of embodied film theory that can make room for structure, signification, and thought, as well as the aesthetics of sensation.
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1964-, Jolley Patrick, and Oxley Nicola, eds. Patrick Jolley: All that falls. Kinsale: Gandon Editions Kinsale, 2012.

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Book chapters on the topic "Phenomenology of film"

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Sobchack, Vivian. "Film." In Contributions to Phenomenology, 226–32. Dordrecht: Springer Netherlands, 1997. http://dx.doi.org/10.1007/978-94-017-5344-9_52.

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Redmond, Sean. "Sensing Film Performance." In Performance Phenomenology, 165–83. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-98059-1_8.

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Baracco, Alberto. "Phenomenology of Film." In Hermeneutics of the Film World, 37–63. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65400-3_2.

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Psathas, George. "Interpreting Film: The Case of Casablanca." In Contributions to Phenomenology, 281–93. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-01390-9_20.

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Chamarette, Jenny. "Introduction." In Phenomenology and the Future of Film, 1–20. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283740_1.

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Chamarette, Jenny. "Time and Matter: Temporality, Embodied Subjectivity and Film Phenomenology." In Phenomenology and the Future of Film, 21–67. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283740_2.

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Chamarette, Jenny. "Knowing and Nothing: Chris Marker, Subjective Temporalities and Vocalic Bodies in the Future Tense." In Phenomenology and the Future of Film, 68–106. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283740_3.

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Chamarette, Jenny. "Agnès Varda’s Trinket Box: Subjective Relationality, Affect and Temporalised Space." In Phenomenology and the Future of Film, 107–42. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283740_4.

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Chamarette, Jenny. "Burlesque Gestures and Bodily Attention: Phenomenologies of the Ephemeral in Chantal Akerman." In Phenomenology and the Future of Film, 143–86. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283740_5.

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Chamarette, Jenny. "Threatened Corporealities: Thinking with the Films of Philippe Grandrieux." In Phenomenology and the Future of Film, 187–230. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283740_6.

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Conference papers on the topic "Phenomenology of film"

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Andreini, A., G. Caciolli, R. Da Soghe, B. Facchini, and L. Mazzei. "Numerical Investigation on the Heat Transfer Enhancement due to Coolant Extraction on the Cold Side of Film Cooling Holes." In ASME Turbo Expo 2014: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/gt2014-25460.

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Film cooling represents one the most widely-used cooling techniques for hot gas path components. In particular, effusion cooling has recently become an important focus of attention in the context of aero-engine design due to its high cooling performance. Notwithstanding the huge amount of work dedicated to the heat transfer on the hot side of effusion cooling plates, it has been demonstrated that up to 30 % of the total cooling effectiveness of a typical effusion cooling configuration can be ascribed to cold side convective cooling. Nevertheless, in open literature it is possible to notice a lack of knowledge as far as this topic is concerned. This paper describes a numerical activity aimed at investigating the phenomenology of the heat transfer at the entrance of film cooling holes. First of all the accuracy of the numerical approach has been validated through a comparison of enhancement factor measurements on a test case available in literature. Steady state RANS simulations have been performed, modeling turbulence by means of the k–ω SST model. The use of a transition model has been taken into account, since in these configurations the transitional behavior of the boundary layer has been highlighted in literature. Subsequently, the attention has been turned to the comprehension of the phenomena involved in the heat transfer augmentation, focusing the attention to the influence of fluid dynamic parameters such as suction ratio and Reynolds number. A good agreement has been highlighted with experimental data, therefore this work provides a starting point for future investigations on more representative configurations.
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Singh, Shifali, Nathalie Cassiaut-Louis, Christophe Journeau, Magali Zabiégo, Nicolas Estre, and Léonie Tamagno. "Modelling of X-Ray Radioscopy for Phase Topology Estimation During Corium Sodium Interaction." In 2018 26th International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/icone26-82400.

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In case of a severe accident scenario in a Sodium cooled Fast Reactor (SFR) such as the ASTRID demonstrator, the fuel might melt and interact with the coolant i.e. liquid sodium. This molten Fuel Coolant Interaction (FCI) can generate an energetic vapor explosion that can jeopardize the reactor structures. The yield of the vapor explosion is strongly dependent on the local distribution of the fragmented melt with respect to the local vapor fractions. The medium is composed of three phases, i.e. corium, liquid sodium and vapor sodium. Thus, a study of the three phase distribution within the system is a key to understand the extent of the explosion. PLINIUS-2, the future large mass experimental platform of CEA Cadarache will be dedicated to conducting experiments to understand the behavior of prototypic corium in case of severe accidents. In order to study these interactions, a high energy X-ray imaging system is being developed. This system consists of a 15 MeV Linear accelerator producing high energy X-rays with significantly high flux, which are attenuated as it passes through the highly dense test section. The transmitted radiation is detected and re-emitted as visible light by the GADOX screen coupled to the CMOS camera. Using this system to study the interaction between corium and sodium is particularly challenging due to the small corium particulates of the size of the order of 1 mm. The qualification of the foreseen radioscopy system on the visualization of such an interaction requires the development of physical phantoms. This paper presents the preliminary simulations of expected images of corium fragments in sodium, vapor bubbles and vapor film around the fragments. The simulations are carried out using a CEA Cadarache in-house tool MODHERATO, which produces radiographic images in satisfactory agreement with the real time imaging. The simulation of particles is based on the knowledge of interaction phenomenology gained from past experiments and on the statistical analysis of the size of corium particles formed. The models which, according to MODHERATO results, qualify to be detected and resolved, help manufacturing physical phantoms to conduct the experiments.
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