Статті в журналах: "Phenomenology of film"

1

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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2

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

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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Chateau, Dominique, and Martin Lefebvre. "Dance and Fetish: Phenomenology and Metz's Epistemological Shift." October 148 (May 2014): 103–32. http://dx.doi.org/10.1162/octo_a_00177.

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Christian Metz is remembered today as having almost single-handedly transformed the culture of film studies. This widely held view was summarized by one commentator, who wrote that “with Metz a new research paradigm is born, as well as a new generation of scholars. The ontological theories are followed by methodological theories.” According to another, “Metz exemplified a new kind of film theorist, one who came to the field already ‘armed’ with the analytic instruments of a specific discipline, who was unapologetically academic and unconnected to the world of film criticism.” Of course, Metz didn't just surge like a meteor on the scene of film studies. His arrival was “prepared” by the filmologie movement spear-headed in Paris by Gilbert Cohen-Séat and by two early film semiology essays published by Roland Barthes in La Revue internationale de filmologie. Yet it is Metz who is rightly remembered as the figurehead of film semiology.

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12

Sera, Mareike. "Saige Walton (2016)Cinema's Baroque Flesh: Film, Phenomenology and the Art of Entanglement." Film-Philosophy 22, no. 2 (June 2018): 302–5. http://dx.doi.org/10.3366/film.2018.0078.

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13

Adkins, Peter. "James Joyce and the phenomenology of film." Textual Practice 32, no. 6 (July 3, 2018): 1030–33. http://dx.doi.org/10.1080/0950236x.2018.1492246.

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14

Furuya, Kohei. "Why Is Touch Sometimes So Touching?: The Phenomenology of Touch in Susan Streitfeld'sFemale Perversions." Film-Philosophy 15, no. 1 (February 2011): 63–81. http://dx.doi.org/10.3366/film.2011.0004.

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15

Brayard, Frédéric. "Jenny Chamarette (2012) Phenomenology and the Future of Film: Rethinking Subjectivity beyond French Cinema." Film-Philosophy 20, no. 2-3 (October 2016): 391–93. http://dx.doi.org/10.3366/film.2016.0025.

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16

Walton, Saige. "Other Sides." Projections 13, no. 2 (June 1, 2019): 38–57. http://dx.doi.org/10.3167/proj.2019.130203.

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Maurice Merleau-Ponty’s existential phenomenology has been crucial to contemporary film-phenomenology, yet his later thought has not received the same attention. Drawing on “Eye and Mind” and other writings, I apply the philosopher’s ontological concept of depth to the cinema. Using Laurie Anderson’s Heart of a Dog (2015), an intimate, experimental portrait of animal life, death, grief, and loss, I approach Anderson’s film as “depthful” cinema, bringing Heart of a Dog into a dialogue with Merleau-Ponty, the film essay, and the lyrical film. Through its diffractions of the subjective “eye/I,” its poetic approach to grief, and its openness to nonhuman ways of being, I argue that Anderson’s film is in accord with Merleau-Ponty’s later thinking on depth in art and in the world.

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17

Schofield, Paul. "Action and Agency inThe Red Shoes." Film-Philosophy 22, no. 3 (October 2018): 484–500. http://dx.doi.org/10.3366/film.2018.0091.

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In this paper, I argue that Michael Powell and Emeric Pressburger's ballet musical The Red Shoes (1948) is concerned with topics surrounding phenomenology, action, and embodied agency, and that it exploits resources that are uniquely cinematic in order to “do philosophy.” I argue that the film does philosophy in two ways. First, it explicates a phenomenological model of action and agency. Second, it addresses itself to the philosophical question of whether an individual's non-reflective movements – those that are not the result of deliberation or practical reasoning – are properly understood to be actions attributable to her as her own.

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18

Lindner, Katharina. "Questions of embodied difference: Film and queer phenomenology." NECSUS. European Journal of Media Studies 1, no. 2 (January 1, 2012): 199–217. http://dx.doi.org/10.5117/necsus2012.2.lind.

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19

Király, Hajnal. "Arrested and Arresting: Intermedial Images and the Self-Reflexive Spectator of Contemporary Cinema." Acta Universitatis Sapientiae, Film and Media Studies 18, no. 1 (October 1, 2020): 57–71. http://dx.doi.org/10.2478/ausfm-2020-0003.

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AbstractThe paper departs from the assumption that while the analysis of the systematic effect that popular cinema (genres like melodrama, horror or action movies) has on its spectators has been largely discussed by film theorists, little has been written on the affective dimensions of arthouse cinema. The lasting effect of visually compelling films on the individual spectator’s emotions has been addressed only sporadically by cognitive film theory, film phenomenology and aesthetics. Therefore, the author proposes to bring together terms and concepts from different discourses (film and literary theory, intermediality studies and empirical psychological research of the literary effect) in order to elucidate how intermedial, painterly references in midcult and arthouse films mobilize the associative dimensions of film viewing and may have an impact on spectatorial self-reflexion and emotional growth. Moreover, films that rely on the associative power of still(ed) images, painterly references bring into play the personal and cultural experiences of the viewer. As such, they can be effectively used in professional and cultural sensitivization.

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20

Landry, Olivia. "A Body Without a Face: The Disorientation of Trauma in Phoenix (2014) and New Holocaust Cinema." Film-Philosophy 21, no. 2 (June 2017): 188–205. http://dx.doi.org/10.3366/film.2017.0043.

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This article analyses Christian Petzold's exemplary 2014 film Phoenix, tracking a new development in Holocaust cinema that focuses on phenomenological narratives of embodied experience of trauma. It examines the film through the cinematic representation of the traumatised body. While there is no dearth of scholarly inquiries into the relationship of trauma and the body and how it is mediated through film, these are often more concerned with the way in which the body becomes a projection screen for repressed or collective trauma and less about the lived conditions of individual trauma. The present analysis offers a rethinking of the traumatised body as one beset by the condition of disorientation. As a methodological guide, it turns to Sara Ahmed's pivotal phenomenological study Queer Phenomenology (2006).

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Vincze, Teréz. "The Phenomenology of Trauma. Sound and Haptic Sensuality in Son of Saul." Acta Universitatis Sapientiae, Film and Media Studies 13, no. 1 (December 1, 2016): 107–26. http://dx.doi.org/10.1515/ausfm-2016-0017.

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Abstract The winner of many prestigious prizes (Oscar for the best foreign language film, Grand Prize of the Cannes Film Festival, and the Golden Globe among them), the Hungarian film, Son of Saul – according to most critics – represents the Holocaust trauma in a completely new and intriguing way. The filmmakers have invented a special form in order to tackle the heroic task of showing the unwatchable, representing the unthinkable. In this essay I analyse the representational strategy of the film from a phenomenological point of view, and position it in the theoretical framework of haptic sensuality formulated by Vivian Sobchack and Laura U. Marks, among others. I mainly focus on the use of sound, in particular the role of sound design in the creation of haptic space. With the help of the analysis of the representation and artistic invocation of the different bodily senses in the film, I demonstrate how traditional artistic formal elements (characteristic of highly artistic, even experimental productions) are combined with high impact effects often present in popular film forms. I argue that the successful combination of these two factors makes the film an example of artistic immersive cinema.1

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22

Byrne, Peter. "Why psychiatrists should watch films (or What has cinema ever done for psychiatry?)." Advances in Psychiatric Treatment 15, no. 4 (July 2009): 286–96. http://dx.doi.org/10.1192/apt.bp.107.005306.

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SummaryCinema is at once a powerful medium, art, entertainment, an industry and an instrument of social change; psychiatrists should neither ignore nor censor it. Representations of psychiatrists are mixed but psychiatric treatments are rarely portrayed positively. In this article, five rules of movie psychiatry are proposed, supported by over 370 films. Commercial and artistic pressures reduce verisimilitude in fictional and factual films, although many are useful to advance understanding of phenomenology, shared history and social contexts in psychiatry. Acknowledging some negative representations, three areas are explored where cinema gets it mostly right: addictions, bereavement and personality disorder. Although there are excellent representations of psychosis on film, film-makers have more often portrayed it violently – ultimately demonising people as psychokillers in more than 100 films cited. When people with mental illness are stigmatised through stereotypes, examining unwelcome depictions can uncover important truths. Psychiatrists' engagement with film will ensure professional and artistic gains.

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23

Chamarette, Jenny. "Embodied Worlds and Situated Bodies: Feminism, Phenomenology, Film Theory." Signs: Journal of Women in Culture and Society 40, no. 2 (January 2015): 289–95. http://dx.doi.org/10.1086/678144.

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24

Castaldi, Simone. "The Time of the Crime. Phenomenology, Psychoanalysis, Italian Film." Journal of Modern Italian Studies 15, no. 1 (January 2010): 168–69. http://dx.doi.org/10.1080/13545710903465671.

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25

McHugh, Kevin E. "Touch at a distance: toward a phenomenology of film." GeoJournal 80, no. 6 (June 7, 2015): 839–51. http://dx.doi.org/10.1007/s10708-015-9650-6.

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26

Sigrist, M., N. Ogawa, and K. Ueda. "Phenomenology of an unconventional superconductor in a thin film." Physica C: Superconductivity 185-189 (December 1991): 2053–54. http://dx.doi.org/10.1016/0921-4534(91)91151-s.

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Marks, E. M., C. Steel, and E. R. Peters. "Intrusions in trauma and psychosis: information processing and phenomenology." Psychological Medicine 42, no. 11 (March 23, 2012): 2313–23. http://dx.doi.org/10.1017/s0033291712000505.

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BackgroundIntrusions are common symptoms of both post-traumatic stress disorder (PTSD) and schizophrenia. It has been suggested that an information processing style characterized by weak trait contextual integration renders psychotic individuals vulnerable to intrusive experiences. This ‘contextual integration hypothesis’ was tested in individuals reporting anomalous experiences in the absence of a need for care.MethodTwenty-six low schizotypes and 23 individuals reporting anomalous experiences were shown a traumatic film with and without a concurrent visuospatial task (VST). Participants rated post-traumatic intrusions for frequency and form, and completed self-report measures of information processing style. It was predicted that, because of their weaker trait contextual integration, the anomalous experiences (AE) group would (1) exhibit more intrusions following exposure to the trauma film, (2) display intrusions characterized by more PTSD qualities and (3) show a greater reduction of intrusions with the concurrent VST.ResultsAs predicted, the AE group reported a lower level of trait contextual integration and more intrusions than the low schizotypes, both immediately after watching the film and during the following 7 days. Their post-traumatic intrusive memories were more PTSD-like (more intrusive, vivid and associated with emotion). The VST had no effect on the number of intrusions in either group.ConclusionsThese findings provide some support for the proposal that weak trait contextual integration underlies the development of intrusions within both PTSD and psychosis.

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Pelusi, F., M. Sega, and J. Harting. "Liquid film rupture beyond the thin-film equation: A multi-component lattice Boltzmann study." Physics of Fluids 34, no. 6 (June 2022): 062109. http://dx.doi.org/10.1063/5.0093043.

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Under the condition of partial surface wettability, thin liquid films can be destabilized by small perturbations and rupture into droplets. As successfully predicted by the thin film equation (TFE), the rupture dynamics are dictated by the liquid–solid interaction. The theory describes the latter using the disjoining pressure or, equivalently, the contact angle. The introduction of a secondary fluid can lead to a richer phenomenology, thanks to the presence of different fluid/surface interaction energies but has so far not been investigated. In this work, we study the rupture of liquid films with different heights immersed in a secondary fluid using a multi-component lattice Boltzmann (LB) approach. We investigate a wide range of surface interaction energies, equilibrium contact angles, and film thicknesses. We found that the rupture time can differ by about one order of magnitude for identical equilibrium contact angles but different surface free energies. Interestingly, the TFE describes the observed breakup dynamics qualitatively well, up to equilibrium contact angles as large as 130°. A small film thickness is a much stricter requirement for the validity of the TFE, and agreement with LB results is found only for ratios [Formula: see text] of the film height h and lateral system size L, such as [Formula: see text].

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29

Heber-Percy, Colin. "The Flesh is Weak. Empathy and Becoming Human in Jonathan Glazer's "Under the Skin"." Aesthetic Investigations 3, no. 2 (July 22, 2020): 347–64. http://dx.doi.org/10.58519/aesthinv.v3i2.11943.

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Jonathan Glazer’s 2013 film Under the Skin offers an unsettling meditation on humanness through the eyes of an alien predator. This essay reflects on Glazer’s film by drawing it into conversation with the later phenomenology of Maurice Merleau-Ponty, with Heidegger, Martin Buber, and with a number of earlier Greek thinkers who together point us towards a more complex and shared definition of ‘contemplation’ or theory. The paper asks: do films watch us as much as we watch films? Through an exploration of the notion of the mask as a means both of disguise and of disclosure, the paper questions to what extent all human relations are masked, screened. So, Glazer’s film can be viewed as an exercise in re-imagining the role of the screen, turning us from viewers to viewed. This implication of the audience in the film’s scope leads to a concluding focus on empathy as the essential sharedness of human (and therefore of cinematic) experience.

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30

Hockley, Luke. "Jungian screen studies – ‘Everything is Awesome…’?" International Journal of Jungian Studies 7, no. 1 (January 2, 2015): 55–66. http://dx.doi.org/10.1080/19409052.2014.958896.

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Jungian film theory has reached a point where it has started to coalesce into a field. It is perhaps timely to take stock of what constitutes that field, and the extent to which a Jungian orientation to film and media is differentiated from Freudian and Lacanian approaches as well as those derived from traditional phenomenology and Deleuze.

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31

Schlupmann, Heide, and Thomas Y. Levin. "Phenomenology of Film: On Siegfried Kracauer's Writings of the 1920s." New German Critique, no. 40 (1987): 97. http://dx.doi.org/10.2307/488134.

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32

Oxenhandler, Neal, and Vivian Sobchack. "The Address of the Eye: A Phenomenology of Film Experience." SubStance 22, no. 1 (1993): 132. http://dx.doi.org/10.2307/3684747.

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Vaage, Margrethe Bruun. "The Empathetic Film Spectator in Analytic Philosophy and Naturalized Phenomenology." Film and Philosophy 10 (2006): 21–38. http://dx.doi.org/10.5840/filmphil2006103.

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Plantinga, Carl, and Allan Casebier. "Film and Phenomenology: Toward a Realist Theory of Cinematic Representation." Journal of Aesthetics and Art Criticism 51, no. 3 (1993): 511. http://dx.doi.org/10.2307/431522.

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Neill, Alex, and Allan Casebier. "Film and Phenomenology: Toward a Realist Theory of Cinematic Representation." Philosophy and Phenomenological Research 54, no. 2 (June 1994): 486. http://dx.doi.org/10.2307/2108512.

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Coates, Paul. "Film and phenomenology: Toward a realist theory of cinematic representation." History of European Ideas 17, no. 1 (January 1993): 113–14. http://dx.doi.org/10.1016/0191-6599(93)90020-q.

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37

Stephens, Elizabeth. "Sensation machine: Film, phenomenology and the training of the senses." Continuum 26, no. 4 (July 27, 2012): 529–39. http://dx.doi.org/10.1080/10304312.2012.698033.

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Casey, Joel. "Cleo Hanaway-Oakley, James Joyce and the Phenomenology of Film." Notes and Queries 67, no. 3 (August 18, 2020): 449–50. http://dx.doi.org/10.1093/notesj/gjaa121.

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Deckard, Michael. "C. Hanaway-Oakley, James Joyce and the phenomenology of film." Phenomenological Reviews 5 (2019): 27. http://dx.doi.org/10.19079/pr.5.27.

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Przybysz, Piotr J. "Fenomenologia, film i awangarda. O inspiracjach Stefana Morawskiego." Przegląd Kulturoznawczy, no. 3 (49) (2021): 562–80. http://dx.doi.org/10.4467/10.4467/20843860pk.21.039.14359.

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Phenomenology, Film and the Avant-garde. The Inspirations of Stefan Morawski The article addresses three key issues that are presented in the section of the “Cultural Studies Review” dedicated to the 100th anniversary of the birth of Professor Stefan Morawski. Firstly, the issue of the relationship between Stefan Morawski and Roman Ingarden and his environment, where I draw attention to the role of Roman Ingarden’s phenomenology in building an independent position in Morawski’s aesthetics/philosophy of art. Secondly, in reconstructing Morawski’s aesthetic views on the basis of published film reviews and on the basis of his reflections on film criticism and artistic meta-criticism, I pay attention to the axiological context of the hierarchisation of works of art, which is the basis of this review. Thirdly, I present basic findings on avant-garde and neo-avant-garde art, as well as on avant-garde theory. This provides an opportunity to better recognise what Morawski’s diagnosis of continuity and severance in the historical development of art was in this area. The above three issues are preceded by biographical information, which is continued in the rest of the text. In this way, Morawski’s choices and changes of interests become more understandable and fraught with consequences.

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Przybysz, Piotr J. "Fenomenologia, film i awangarda. O inspiracjach Stefana Morawskiego." Przegląd Kulturoznawczy, no. 3 (49) (2021): 562–80. http://dx.doi.org/10.4467/20843860pk.21.039.14359.

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Phenomenology, Film and the Avant-garde. The Inspirations of Stefan Morawski The article addresses three key issues that are presented in the section of the “Cultural Studies Review” dedicated to the 100th anniversary of the birth of Professor Stefan Morawski. Firstly, the issue of the relationship between Stefan Morawski and Roman Ingarden and his environment, where I draw attention to the role of Roman Ingarden’s phenomenology in building an independent position in Morawski’s aesthetics/philosophy of art. Secondly, in reconstructing Morawski’s aesthetic views on the basis of published film reviews and on the basis of his reflections on film criticism and artistic meta-criticism, I pay attention to the axiological context of the hierarchisation of works of art, which is the basis of this review. Thirdly, I present basic findings on avant-garde and neo-avant-garde art, as well as on avant-garde theory. This provides an opportunity to better recognise what Morawski’s diagnosis of continuity and severance in the historical development of art was in this area. The above three issues are preceded by biographical information, which is continued in the rest of the text. In this way, Morawski’s choices and changes of interests become more understandable and fraught with consequences.

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42

Horrocks, Roger. "The dance of the hand: Len Lye’s direct films." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 33–45. http://dx.doi.org/10.1386/ap3_00003_1.

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Len Lye’s animation has a special relationship with physical materials and the body because of the ways he drew and scratched his images directly onto film. This article considers what is unusual about his aesthetic, with its emphasis on kinaesthetic styles of viewing and on ‘physical empathy’. Tracking Lye’s film work from the 1930s through the 1950s, it draws connections with the body-oriented aspects of abstract expressionist art. It also relates the films to Maurice Merleau-Ponty’s ‘embodied’ approach to phenomenology. Today Lye’s films need to be digitized, and that transfer raises interesting questions about the differences between analogue and digital aesthetics. What happens when his films move from the ‘black box’ of the cinema to the ‘white cube’ of the gallery or museum where they are digitally presented? The article also considers Lye’s kinetic sculpture as another body-oriented form of animation, in which the motor replaces the projector. His sculpture again raises questions about mixing the analogue with the digital.

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Berger, Matthew. "James Joyce and The Phenomenology of Film by Cleo Hanaway-Oakley." James Joyce Quarterly 55, no. 1-2 (2017): 228–31. http://dx.doi.org/10.1353/jjq.2017.0042.

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Millar, Becky, and Jonny Lee. "Horror Films and Grief." Emotion Review 13, no. 3 (July 2021): 171–82. http://dx.doi.org/10.1177/17540739211022815.

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Many of the most popular and critically acclaimed horror films feature grief as a central theme. This article argues that horror films are especially suited to portraying and communicating the phenomenology of grief. We explore two overlapping claims. First, horror is well suited to represent the experience of grief, in particular because the disruptive effects of horror “monsters” on protagonists mirror the core experience of disruption that accompanies bereavement. Second, horror offers ways in which the experience of grief can be contained and regulated and, in doing so, may offer psychological benefits for the bereaved. While our focus will be squarely on film, much of what we say applies to other media.

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Amit, Rea. "What Is Japanese Cinema?" positions: asia critique 27, no. 4 (November 1, 2019): 597–621. http://dx.doi.org/10.1215/10679847-7726903.

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Imamura Taihei (1911–86) is considered by many to be the first film theorist in Japan, and he is known chiefly for his two grand theories on documentary film and animation. Yet, at the same time, Imamura also developed a third, no less ambitious theory, that of “Cinema and Japanese Art,” in which he specified the national characteristics of Japanese cinema. This essay concentrates on this third and less studied thesis. Although the argument Imamura puts forth in the thesis is elusive, aspects in it enable an interpretation of Japanese cinema along lines of phenomenological critical theory. From this perspective, it appears that Imamura establishes a theorization of national cinema that is predicated not on film as a product, or ontological aspects of what films project, but rather on the phenomenology of the film-watching experience. In effect, the thesis thus defines Japanese cinema not as the total sum of films produced in Japan, or by Japanese filmmakers, but as a shared watching experience of films regardless of their country of origin. Measuring Imamura’s thesis against other theories of Japanese national cinema that were published around the same time, during World War II, the essay argues that his theorization is in fact flexible enough to withstand more recent critique leveled against the notion of national cinema, and even allows radical new ways of thinking about national cinema in the contemporary moment of a new media environment and increasing transnational cultural flows.

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Gaut, Berys. ": Film and Phenomenology: Toward a Realist Theory of Cinematic Representation . Allan Casebier." Film Quarterly 47, no. 1 (October 1993): 47–49. http://dx.doi.org/10.1525/fq.1993.47.1.04a00130.

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Eugeni, Ruggero. "“A Past Which Has Never Been a Present”. Cinema and Photography in Blow-Up by Michelangelo Antonioni." Recherches sémiotiques 28, no. 1-2 (October 7, 2010): 125–35. http://dx.doi.org/10.7202/044592ar.

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This article analyses Michelangelo Antonioni’s Blow-Up (1966). The author argues that the film offers a fully-developed theory of photography, one that is consistent with Merleau-Ponty’s phenomenology and which emphasizes the embodiedness and situatedness of ‘Operator’ and ‘Spectator’. However, one key element of this theory resides in the recognition that these two ‘agents’ can never coincide.

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Mohamad Rasit, Rosmawati, and Nur Hazriani Razali. "Phenomenological Study of Shariah-Compliant Films as Da’wah Medium." Ulum Islamiyyah 23 (April 1, 2018): 1–11. http://dx.doi.org/10.33102/uij.vol23no0.15.

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The discussion of Shariah compliance in film provides the opportunity for the delivery of the message of da’wah (Islamic evangelism) through filmart. Nevertheless, the term sharia compliance in the film field is a newly discussed matter compared to sharia compliance in the banking system. Therefore, this study aims to analyze film audience’s perception towards the concept of sharia compliance. This study also examined the role of sharia compliance film as the medium of da’wah. It employed the phenomenology design that involved sampling with the aims to obtain study respondents. The 10 samples were UKM undergraduate and postgraduate Muslim students who like watching Malay films. The data were collected via focussed group discussion. This study employed constant comparative analysis in comparing data that convey meaning in answering the questions and objectives of the study. The findings showed that from the audience’s perception regarding sharia compliance, there were two categories of audience, which are negotiated reading and oppositional reading in interpreting meaning. The findings stated the respondents’ perception regarding the concept of sharia compliance that was discussed - ‘’Actions in film, socializing limit...the acting should preserve them but not too stiff...for example the scene where husband and wife sleeping together on a bed should be avoided. Frankly, the absent of such scene does not flaw the film.’’ The findings also found that the respondents agreed with the role of sharia compliance film as the medium of da’wah. It is hoped that this study contributes clarity to filmmakers regarding the concept of sharia compliance that could take center stage in da’wah film in Malaysia

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Gallese, Vittorio, and Michele Guerra. "The Neuroscience of Film." Projections 16, no. 1 (March 1, 2022): 1–10. http://dx.doi.org/10.3167/proj.2022.160101.

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In the last decades, the contribution of cognitive neuroscience to film studies has been invested in at least three different lines of research. The first one has to do with film theory and history: the new attention, inspired by cognitive neuroscience, to the viewer’s brain-body, the sensorimotor basis of film cognition, and the forms of embodied simulation elicited by the cinematic experience has stimulated a profound rethinking of a relevant part of the theoretical discourse on cinema, from the very beginning of the twentieth century to the most recent reflections within cognitive film studies and the phenomenology of film. The second line has to do with the intersubjective relationship between the movie—its style, rhythm, characters, and narrative—and the viewer, and it is characterized by an empirical approach that yields very interesting results, useful for rethinking and problematizing our ideas about editing, camera movements, and film reception. The third line concerns a possible experimental approach to the new life of film, focusing on the digital image, the innovative forms of technological mediation, and the inscription of a new film spectatorship within a completely different medial frame. The goal of this special issue is to offer insights across these lines of research.

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Mikheeva, Julia V. "Sound in the films of Michael Haneke from the perspective of phenomenological aesthetics." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 116–27. http://dx.doi.org/10.17816/vgik113116-127.

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The philosophical and aesthetic ideas of phenomenology have been present in cinema theory since the silent period. Methods of phenomenological theory can be found in the analysis of the visual aspects of films or the artistic style of their authors. The essay analyses signs of phenomenological thinking in the audiovisual aspects of films - a little studied but significant area of directorial aesthetics. Its theoretical and methodological foundation includes the phenomenology of Edmund Husserl and elements of phenomenological aesthetics in the works of Maurice Merleau-Ponty and Roman Ingarden. Taking the work of a significant representative of auteur cinema, the Austrian director Michael Haneke, the author explores cinematic variations of the concept of phenomenological reduction, the method of perfectly clear apprehension of the essence and the layered semantic structure of the film. Conclusions are drawn about the presence of typological signs of phenomenological thinking in the work of other filmmakers, such as Robert Bresson and Jean-Pierre and Luc Dardenne. Visually, this presence is expressed in the tendency towards asceticism and documentarism in the choice of artistic devices; towards the disclosure of cinematic phenomena (facts); and aurally, in the tendency to minimize off-screen music and get rid of the expressiveness in the actor's speech, towards greater semantic significance of intra-frame music, individual sounds, pauses and non-sounds.

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