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Books on the topic 'Phenomenology of film'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

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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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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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10

1964-, Jolley Patrick, and Oxley Nicola, eds. Patrick Jolley: All that falls. Kinsale: Gandon Editions Kinsale, 2012.

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11

Richard, David Evan. Film Phenomenology and Adaptation. Amsterdam University Press, 2021. http://dx.doi.org/10.1515/9789048543052.

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12

Phenomenology in film and television. London: Harwood, 1990.

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13

Richard, David Evan. Film Phenomenology and Adaptation: Sensuous Elaboration. Amsterdam University Press, 2021.

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14

Richard, David Evan. Film Phenomenology and Adaptation: Sensuous Elaboration. Amsterdam University Press, 2021.

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15

Loht, Shawn. Phenomenology of Film: A Heideggerian Account of the Film Experience. Lexington Books/Fortress Academic, 2017.

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16

Phenomenology of Film: A Heideggerian Account of the Film Experience. Lexington Books/Fortress Academic, 2017.

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17

Wahlberg, Malin. Documentary Time: Film and Phenomenology (Visible Evidence). Univ Of Minnesota Press, 2008.

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18

James Joyce and the Phenomenology of Film. Oxford University Press, 2017.

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19

Hanaway-Oakley, Cleo. James Joyce and the Phenomenology of Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.001.0001.

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James Joyce and the Phenomenology of Film reappraises the lines of influence said to exist between Joyce’s writing and early cinema and provides an alternative to previous psychoanalytic readings of Joyce and film. Through a compelling combination of historical research and critical analysis, Cleo Hanaway-Oakley demonstrates that Joyce, early film-makers, and phenomenologists (Maurice Merleau-Ponty, in particular) share a common enterprise: all are concerned with showing, rather than explaining, the ‘inherence of the self in the world’. Instead of portraying an objective, neutral world, bereft of human input, Joyce, the film-makers, and the phenomenologists present embodied, conscious engagement with the environment and others: they are interested in the world-as-it-is-lived and transcend the seemingly rigid binaries of seer/seen, subject/object, absorptive/theatrical, and personal/impersonal. This book re-evaluates the history of body- and spectator-focused film theories, placing Merleau-Ponty at the centre of the discussion, and considers the ways in which Joyce may have encountered such theories. In a wealth of close analyses, Joyce’s fiction is read alongside the work of early film-makers such as Charlie Chaplin, Georges Méliès, and Mitchell and Kenyon, and in relation to the philosophical dimensions of early cinematic devices such as the Mutoscope, the stereoscope, and the panorama. By putting Joyce’s literary work—Ulysses above all—into dialogue with both early cinema and phenomenology, this book elucidates and enlivens literature, film, and philosophy.

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20

Hanaway-Oakley, Cleo. Modern Thought and the Phenomenology of Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.003.0003.

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This chapter situates Merleau-Ponty’s phenomenology of film in its historical context through analysing its key insights—the reciprocal and embodied nature of film spectatorship—in the light of late-nineteenth and early-twentieth century philosophy and psychology, charting Merleau-Ponty’s indebtedness to thinkers as diverse as Henri Bergson, Max Wertheimer, Hugo Münsterberg, Rudolf Arnheim, Victor Freeburg, Sergei Eisenstein, and Siegfried Kracauer. The historical Bergson is differentiated from the Deleuzian Bergson we ordinarily encounter in film studies, and Merleau-Ponty’s fondness for gestalt models of perception is outlined with reference to the competing ‘persistence of vision’ theory of film viewing. The chapter ends with a consideration of some of the ways in which James Joyce could have encountered early phenomenology, through the work of the aforementioned philosophers and psychologists and the ideas of Gabriel Marcel, Franz Brentano, William James, and Edmund Husserl.

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21

Documentary Time: Film and Phenomenology (Visible Evidence). Univ Of Minnesota Press, 2008.

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22

Torlasco, Domietta. Time of the Crime: Phenomenology, Psychoanalysis, Italian Film. Stanford University Press, 2008.

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23

Sobchack, Vivian. Address of the Eye: A Phenomenology of Film Experience. Princeton University Press, 2020.

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24

The Time of the Crime: Phenomenology, Psychoanalysis, Italian Film. Stanford University Press, 2008.

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25

Film and Phenomenology: Towards a Realist Theory of Cinematic Representation (Cambridge Studies in Film). Cambridge University Press, 2009.

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26

Sobchack, Vivian. The Address of the Eye: A Phenomenology of Film Experience. Princeton University Press, 1991.

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27

Ambiguous Cinema: From Simone de Beauvoir to Feminist Film-Phenomenology. Edinburgh University Press, 2022.

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28

Fuery, Kelli. Ambiguous Cinema: From Simone de Beauvoir to Feminist Film-Phenomenology. Edinburgh University Press, 2022.

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29

Fuery, Kelli. Ambiguous Cinema: From Simone de Beauvoir to Feminist Film-Phenomenology. Edinburgh University Press, 2022.

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30

Walton, Saige. Cinema's Baroque Flesh: Film, Phenomenology and the Art of Entanglement. Amsterdam University Press, 2016.

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31

Cinema's Baroque Flesh: Film, Phenomenology and the Art of Entanglement. Amsterdam University Press, 2016.

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32

Sternberg and Dietrich: The Phenomenology of Spectacle. Oxford University Press, Incorporated, 2019.

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33

Phenomenology And The Future Of Film Rethinking Subjectivity Beyond French Cinema. Palgrave MacMillan, 2012.

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34

Chamarette, J. Phenomenology and the Future of Film: Rethinking Subjectivity Beyond French Cinema. Palgrave Macmillan, 2012.

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35

Chamarette, Jenny. Phenomenology and the Future of Film: Rethinking Subjectivity Beyond French Cinema. Palgrave Macmillan, 2012.

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36

Chamarette, J. Phenomenology and the Future of Film: Rethinking Subjectivity Beyond French Cinema. Palgrave Macmillan, 2012.

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37

Yellow Crocodiles And Blue Oranges: Russian Animated Film Since World War two. McGill-Queen's University Press, 2005.

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38

MacFadyen, David. Yellow Crocodiles and Blue Oranges: Russian Animated Film since World War II. McGill-Queen's University Press, 2005.

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39

Phenomenologys Material Presence Video Vision And Experience. Intellect (UK), 2010.

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40

Choe, Steve. Afterlives: Allegories of Film and Mortality in Early Weimar Germany. Bloomsbury Publishing Plc, 2016.

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41

Hanaway-Oakley, Cleo. Reciprocal Seeing and Embodied Subjectivity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.003.0002.

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This chapter considers the previous ways in which literary scholars have used film theory in their interpretations of Ulysses. Joyce scholars have tended to favour the psychoanalytic film theories of Christian Metz and Laura Mulvey, employing them in their analyses of the relationship between Gerty and Bloom in the ‘Nausicaa’ episode of Ulysses. Phenomenology is offered as an alternative approach, as a way of seeing beyond the seemingly rigid binaries of seer/seen, subject/object, absorptive/theatrical, and personal/impersonal. Starting from Merleau-Ponty’s ‘The Film and the New Psychology’ (1945), then moving on to consider the ideas of contemporary film phenomenologists (such as Vivian Sobchack, Spencer Shaw, and Jennifer Barker), the second half of the chapter outlines the insights provided by phenomenology, focusing on the reciprocity of cinematic perception and the embodied nature of film spectatorship.

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42

Murray Levine, Alison J. Vivre Ici. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786940414.001.0001.

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Vivre Ici analyzes a selection of films from the vast viewing landscape of contemporary French documentary film, a genre that has experienced a renaissance in the past twenty years. The films are connected not just by a general interest in engaging the “real,” but by a particular attention to French space and place. From farms and wild places to roads, schools, and urban edgelands, these films explore the spaces of the everyday and the human and non-human experiences that unfold within them. Through a critical approach that integrates phenomenology, film theory, eco-criticism and cultural history, Levine investigates the notion of documentary as experience. She asks how and why, in the contemporary media landscape, these films seek to avoid argumentation and instead, give the viewer a feeling of “being there.” As a diverse collection of filmmakers, both well-known and less so, explore the limits and possibilities of these places, a collage-like, incomplete, and fragmented vision of France as seen and felt through documentary cameras comes into view. Venturing beyond film analysis to examine the production climate for these films and their circulation in contemporary France, Levine explores the social and political consequences of these “films that matter” for the viewers who come into contact with them.

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43

Robertson, Kate. Trouble Every Day. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859241.001.0001.

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Transgressive both in its narrative and in its filmmaking, Trouble Every Day (2001) envisions the monster inside, unspeakable urges and an overwhelming need for complete incorporation. A plant discovered in the South American jungle produces in its test subjects a terrible, unnatural and uncontrollable hunger. Vicious, all-consuming desire begets excessive violence and a turn to cannibalism, which situates Trouble Every Day into a tradition of challenging cinema, a film maudit that pushes the boundaries of what can be shown on screen. But while it is certainly an unflinching film, it is deserving of reassessment as part of Clare Denis’ filmography as well as a broader cinematic lineage. Focusing on close textual analysis, this book delves into the surfeit of visual, literary, and non-fiction references that shape Trouble Every Day while thwarting attempts to firmly situate it. It considers its place in a lineage of films that push the boundary of taste and representation, aligned as much with Un Chien andalou (1929) as the New French Extremity. It also considers the film’s relationship to such sub-genres as classic monster movies, video nasties, mad science, gothic, vampire, body horror, and Italo-exploitation cannibal films, and directors such as Abel Ferrara, Brian de Palma, Jean Renoir and Jacques Tourneau. Drawing on a range of disciplines, including art, philosophy and phenomenology, this study explores how Trouble Every Day elicits a visceral response to a cinematic experience that beguiles and violates.

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44

Hanaway-Oakley, Cleo. A Shared Enterprise. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.003.0001.

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This chapter provides an introduction to the book. First there is a discussion of the meaning of phenomenology and a consideration of whether or not Joyce can be called a ‘phenomenologist’. Joyce and early film-makers are declared ‘phenomenological’ as they share a common enterprise: all are concerned with showing, rather than explaining, the ‘inherence of the self in the world’. Hanaway-Oakley briefly discusses studies closely related to this book, including those by Ulrika Maude and Matthew Feldman, David Trotter, and Andrew Shail. Finally, the structure of the book is explained, with a description of each chapter.

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45

Garrard, Greg, ed. The Oxford Handbook of Ecocriticism. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199742929.001.0001.

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This volume explores the history, application, and the future of ecocriticism. It traces the origins of and describes the practice of ecocriticism during the renaissance, medieval, and romantic period and evaluates the influence of the ecoformalism of country and old-time music. It analyzes the relevance of various theories and principles to ecocritical analysis including posthumanism, phenomenology, queer theory, deconstruction, pataphyics, biosemiotic criticism, and environmental justice. This volume also investigates the application of ecocriticism in the analysis of the politics of representation, evaluation literary form and genre and in eco-film studies and reviews the relevant works of various authors including Rudyard Kipling and W. E. B. Du Bois.

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46

Cappelen, Herman, Tamar Szabó Gendler, and John Hawthorne, eds. The Oxford Handbook of Philosophical Methodology. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199668779.001.0001.

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This book examines the nature of philosophical methodology, defined as the study of philosophical method: how to do philosophy well. It considers a number of hypotheses that explain the nature of philosophical methodology, including eliminativism, epistemologism, theory selectionism, necessary preconditionalism, and hierarchicalism. It also tackles a range of topics such as ‘ordinary language philosophy’, the role of logic in philosophical methodology, phenomenology, philosophical heuristics, and methods in the philosophy of literature and film. Other chapters discuss the method of reflective equilibrium, the notions of conceivability and possibility, naturalistic approaches to philosophical methodology, the methodology of legal philosophy, aesthetics and the philosophy of art as branches of analytic philosophy, issues and methods in the philosophy of mathematics, how and whether faith conflicts with reason, and critical philosophy of race.

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47

Phillips, James. Sternberg and Dietrich. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190915247.001.0001.

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James Phillips’s Sternberg and Dietrich: The Phenomenology of Spectacle reappraises the cinematic collaboration between the Austrian-American filmmaker Josef von Sternberg (1894–1969) and the German-American actor Marlene Dietrich (1901–1992). Considered by his contemporaries to be one of the most significant directors of Golden-Age Hollywood, Sternberg made seven films with Dietrich that helped establish her as a style icon and star and entrenched his own reputation for extravagance and aesthetic spectacle. These films enriched the technical repertoire of the industry, challenged the sexual mores of the times, and notoriously tried the patience of management at Paramount Studios. Sternberg and Dietrich: The Phenomenology of Spectacle demonstrates how under Sternberg’s direction Paramount’s sound stages became laboratories for novel thought experiments. Analyzing in depth the last four films on which Sternberg and Dietrich worked together, Phillips reconstructs the “cinematic philosophy” that Sternberg claimed for himself in his autobiography and for whose fullest expression Dietrich was indispensable. This book makes a case for the originality and perceptiveness with which these films treat such issues as the nature of trust, the status of appearance, the standing of women, the ethics and politics of the image, and the relationship between cinema and the world. Sternberg and Dietrich: The Phenomenology of Spectacle reveals that more is at stake in these films than the showcasing of a new star and the confectionery of glamor: Dietrich emerges here as a woman at ease in the world without being at home in it, as both an image of autonomy and the autonomy of the image.

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48

Gipps, Richard G. T., and Michael Lacewing, eds. The Oxford Handbook of Philosophy and Psychoanalysis. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198789703.001.0001.

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With contributions from 35 leading experts in the field, The Oxford Handbook of Philosophy and Psychoanalysis provides the definitive guide to this interdisciplinary field. The book comprises eight sections, each providing an overview of current thinking at the interface between philosophy and psychoanalysis through original contributions that will shape the future of the debate in its area. The first section covers the philosophical pre-history of the psychoanalytic unconscious, including discussions of Spinoza, Kant, Hegel, Schopenhauer, and Nietzsche. The next three present evaluations of psychoanalysis. Thus, the second examines how psychoanalysis was received and developed in the twentieth century by Merleau-Ponty, Wittgenstein, the Frankfurt School, and Ricoeur. In the third, central clinical concepts, such as transference, symbolism, wish-fulfilment, making the unconscious conscious, and therapeutic action are presented and interrogated. The fourth discusses the scientific credentials of psychoanalysis, and whether it is better understood as a form of phenomenology. The final four sections turn to the contribution and significance of a psychoanalytic perspective for different aspects of human self-understanding. In that on aesthetics, philosophical theories of art, literature and film are illuminated. In the section on religion, Freud’s challenge to theism, philosophical and psychoanalytic responses to that, and Lacan’s reinterpretation of religion take centre-stage. Next, questions of love, mental health and evolutionary neuroscience are discussed in relation to ethics. The final section examines the radical challenge of psychoanalysis to political and social institutions, including issues of education, gender and war.

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49

Nishio, T., Y. Hata, S. Okayasu, J. Suzuki, S. Nakayama, A. Nagata, A. Odawara, K. Chinone, and K. Kadowaki. Scanning SQUID microscope study of vortex states and phases in superconducting mesoscopic dots, antidots, and other structures. Edited by A. V. Narlikar and Y. Y. Fu. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199533053.013.11.

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This article investigates vortex states and phases in superconducting mesoscopic dots, antidots, and other structures using a scanning superconducting quantum interference device (SQUID) microscope. It begins with an introduction to the phenomenology of superconductivity and the fundamentals of vortex confinement in mesoscopic superconductors. It then provides a background on the SQUID microscope, followed by a discussion of how a high-resolution scanning SQUID microscope was developed. It also describes what the scanning SQUID microscopy revealed about quantized flux in superconducting rings, as well as vortex confinement in microscopic superconducting disks, triangles, and squares. Finally, it presents the results of direct observation of an extended penetration depth in thin films and vortex states in high-temperature superconductors.

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50

Grossman, Andrew. Animated Pasts and Unseen Futures: on the Comic Element in Hong Kong Horror. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0006.

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Analyses of horror cinema seldom focus on the genre’s intersections with comedy, perhaps because the dominant influence of psychoanalysis on horror has emphasized gender, sexuality, trauma, abandonment, and various aspects of the unconscious. Yet Hong Kong might well boast world cinema’s most successful engagement of the horror-comedy as a sustained genre. From the late 1970s through the early 1990s, the ghosts and animated corpses of Taoist folklore became invested with the martial arts comedy advanced by Jackie Chan and Sammo Hung, rendering supernatural bodies as clownish cyphers rather than the romantic entities of Enchanting Shadow or AChinese Ghost Story. If spirits represent an intermediary stage between life and death, so too does the stylized clown, whose death-defying feats and transgression of “normal” human limitations render our mortal fears absurd. Presenting superstition as a comedy of stubborn familiarity and reveling in the foolishness of a premodern past, the Hong Kong horror-comedy resists the ideology of the encroaching Mainland, which has often censored “backwards” depictions of Chinese folklore and fantasy. In addition to examining the phenomenology of Hong Kong’s horror-comedies, this chapter also considers how such films fit into overall theories of physical comedy, from Bergson to Koestler.

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