Search results

You are looking at 11 - 20 of 49 items for :

  • "phenomenology" x
  • Film, Media and Music x
  • Manchester Film Studies x
Clear All
Background and early filmmaking

, subjectivity, self–other relations and free will. It reads Demy’s cinema through a perspective grounded in pre- and post-war philosophies on time and alterity, and their application in work on film. It contributes to a turn towards existentialism and phenomenology in film studies since the early 2000s by assessing the extent to which related ideas and ethics were already mobilised within the films of a director often overlooked as having little intellectual merit. Chapter 1 examines Demy’s relation to the French New Wave (Nouvelle Vague). It argues that, if the theme of the

in Jacques Demy

upon which phenomenology is based’ (Rodowick 1997: 22). Rodowick is correct to point out that both Deleuze’s and Bergson’s approaches to perception are based on the capacities of an already mobile subject and not a subject that is stable or fixed, the latter being associated with a phenomenological perspective. One can thus certainly claim that the model of perception informing the Cinema books is non-phenomenological, but still the question of the relation between natural and cinematic perception has not been clarified. Rodowick persists by claiming that ‘it is

in The reality of film
Abstract only

of silent and early cinema, with the improved sense of history which this has helped to foster, not least through the work on technology and other production contexts. More recently, the bodily turn in the humanities has seen critics exploring the relationship between phenomenology and detailed criticism; video essays have begun to explore the potential of accessible digital technologies to capture and to play with the object of study. The turn of the millennium ushered in a revival of style-­based criticism: the Style and Meaning conference of 2000 and the

in The life of mise-en-scène

C. G. Jung, Aion: Researches into the Phenomenology of the Self , trans. R. F. C. Hull (London: Routledge and Kegan Paul, 1959), Chapter 5 , ‘Christ, a Symbol of the Self’, pp. 36–71. In Kicking the Pricks , Jarman tells us that his script for Neutron ‘was based on Jung’s Aeon [ sic ]. Researches into the phenomenology of the self, the self-measured in the life of

in Derek Jarman

in which the principle of freedom is embodied and fostered (Aitken, 2006 : 71). The notion of the soul as immutable a-temporal ‘significant structure’ also suggests the influence of both Kant and phenomenology: influences which reached the young Lukács through his association with the neo-Kantian school at Heidelberg University, and the phenomenologically inclined school at

in Lukácsian film theory and cinema

Erving Goffman, The Presentation of Self in Everyday Life (Harmondsworth: Penguin Books, 1990). For its applicability to films, see Dudley Andrew, ‘The neglected tradition of phenomenology’, in Bill Nichols (ed.), Movies and Methods, vol. 2: An Anthology (Berkeley, CA: University of California Press, 1985), pp. 625–32. 10

in The British working class in postwar film

’, ‘instinct’ and ‘perception’. For Bergson, the most basic mode of experiencing reality is perception. However, Bergson – the phenomenologist – also differs markedly from Husserlian phenomenology in the weighting that he bestows upon the importance of perception. For Husserl, as we have seen, immediate experience of the Lebenswelt is an important prerequisite for human emancipation. Although the Lebenswelt also consists of

in Realist film theory and cinema

.’ 21 ‘At the point Bresson has reached, the image can say more only by vanishing.’ 22 ‘Consider any act from the point of view not of its object, but of what impels it. Not: to what end? But: where does this come from?’ 23 ‘a phenomenology of salvation and grace

in Robert Bresson

couple’ and the mostrum created by Andy Warhol in 1963 with Sleep . But on an ethical as well as aesthetic grounds, he shared most with the phenomenology of Bazin and his ontological realism. The idea of a cinema with a duration opposed to that of classical editing is linked for Zavattini and Bazin to a desire to be caught up in the seamlessness of existence in order to grasp the experience of it before grasping its sense

in Cinema – Italy

to this phenomenological conception of form and content throughout his career. For example, writing between 1910 and 1912, in a paper entitled ‘On the Phenomenology of the Creative Process,’ he argues that: The creator is a genius if his experiences contain the technical forms of the work as

in Lukácsian film theory and cinema