Download Where Film Meets Philosophy: Godard, Resnais, and by Hunter Vaughan PDF

By Hunter Vaughan

Hunter Vaughan interweaves phenomenology and semiotics to research cinema's skill to problem traditional modes of inspiration. Merging Maurice Merleau-Ponty's phenomenology of notion with Gilles Deleuze's image-philosophy, Vaughan applies a wealthy theoretical framework to a comparative research of Jean-Luc Godard's motion pictures, which critique the audio-visual phantasm of empirical commentary (objectivity), and the cinema of Alain Resnais, within which the sound-image generates leading edge portrayals of person event (subjectivity). either filmmakers extensively upend traditional movie practices and problem philosophical traditions to change our realizing of the self, the area, and the connection among the 2. motion pictures mentioned intimately contain Godard's Vivre sa vie (1962), Contempt (1963), and a pair of or three issues i do know approximately Her (1967); and Resnais's Hiroshima, mon amour (1959), final 12 months at Marienbad (1961), and The struggle Is Over (1966). Situating the formative works of those filmmakers inside of a broader philosophical context, Vaughan pioneers a phenomenological movie semiotics linking disparate methodologies to the reflected achievements of 2 possible irreconcilable artists.

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Extra info for Where Film Meets Philosophy: Godard, Resnais, and Experiments in Cinematic Thinking (Film and Culture)

Sample text

On a basic, illusionist plane I will look here at how the film image offers a mode of representation that implicitly claims its content as being directly witnessed, or experienced, because its form of presentation mimics the sensory process through which humans experience the material world. 3 The image offers us a position for viewing, from which vantage point the visible content seems less like a cultural text and more like a chunk of some ostensible reality. ”4 For Arnheim cinematic realism is not a natural inclination of cinema but an affectation.

Unlike Resnais’s fi lms, which open up to a seemingly infi nite possibility of meaning, Godard’s cinema closes in on itself, engaging the very process of fi lm expression in its inquiry and, in doing so, destroying any fi xed illusion of certainty or containment. Confronting cinema with the problem of how it reflects on the world of which it is a part, Godard fractures the connotations of objectivity through which many worldviews are guaranteed as natural. Setting up a dialectic relationship between two radically different but equally radical figures in international fi lm history—linking Godard’s obsessive exploration of space, vision, and objectivity to the phenomenology of perception developed by Merleau-Ponty, and Resnais’s introduction: where film meets philosophy—33 exploration of temporality, sound, and subjectivity to the Bergsonian image-philosophy of Deleuze—this book constructs a parallel and even dialectical framework for connecting fi lm and philosophy that is built on detailed theoretical analysis and the close reading of fi lm texts.

Chapter 1 explores the allegorical notions of the image-as-perception and the image-as-thought, reconciling such divergent theories as Eisensteinian montage and Bazinian realism under an umbrella rubric of subject-object relations. Using Merleau-Ponty to work through such phenomenological film writers as Edgar Morin and Jean Mitry, chapter 1 addresses the problem of how cinema’s basic visual apparatus designates a viewing position meant to simulate the human perceptual mechanism, while also offering the possibility to nullify this unilateralism.

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