Download Phenomenology and the Future of Film: Rethinking by J. Chamarette PDF
By J. Chamarette
Utilizing hybrid phenomenological methods to movie, this e-book makes a speciality of how relocating photos are 'experienced' and 'encountered' in addition to 'read' and 'viewed'. Its shut engagements with motion pictures and installations by way of 4 modern French filmmakers discover the bounds and probabilities of 'cinematic' subjectivity.
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Extra info for Phenomenology and the Future of Film: Rethinking Subjectivity beyond French Cinema
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20 Phenomenology and the Future of Film observer-participants or between filmic bodies (in Akerman), disembodied objects that are conduits for the passage of subjective experience, such as affect (in Grandrieux), temporality and voice (in Marker) and so on. It is unsurprising that amidst this confusing commingling of subjectness and object-ness, that it would be more hermeneutically satisfying to describe this in-betweenness in terms of a betweenness internal to the singularity or between singularities.
The conditions in which such thought emerged, and the concomitant invention of the cinema, are not incidental to this line of enquiry. Early cinema appears to have acted as a catalyst to many thinkers in terms of their own formulations of more abstract notions of time, self, consciousness and presence, including Bergson, Peirce, and later Maurice Merleau-Ponty and Gilles Deleuze. Such was and is the complexity of thinking through these problematics that Bergson, the great modernist thinker of time, leans upon the Time and Matter 25 apparatus of analogy in order to think the multiplicity of time, in particular that of music and of matter (cf.
Before exploring the sensory cinematics disclosed by contemporary cinema, there is a need to recognise those characteristics in film’s earlier incarnations. As David Trotter points out in Cinema and Modernism: Some early film-makers shared with some writers of the period a conviction both that the instrumentality of the new recording media had made it possible for the first time to represent (as well as to record) existence as such; and that the superabundant generative power of this instrumentality (the ever-imminent autonomy of the forms and techniques it has given rise to) put in doubt the very idea of existence as such.