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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

never a state’] (ibid.: 94). This indicates that temporality and the virtuality of something to come, as well as some kind of interpersonality – since the imperative is a command of someone to someone else – organize the force-field of the movie-viewing experience. This echoes Bergson’s focus on duration as becoming, while adding to it an intersubjective dimension, that of a call, an interpellation from someone or something. The mobile–temporal aspect of photogénie may reflect its closeness to arts of time such as music and poetry as well as to the phenomenology of

in Jean Epstein
Demy’s musicals

and affect are expressed and transmitted. Given that the film is contained within an enclosed townspace and that most of the scenes unfold in a delimited set of interiors, Les Waldron_Demy_Revision.indd 54 26/06/2014 14:30 melodic reconfigurations: demy’s musicals  55 Parapluies de Cherbourg gestures towards a phenomenological conceptualisation of subjectivity. As outlined in the introduction, according to phenomenology, identity is constructed through the encounter between the self and the outside world. The world appears as I apprehend it. It surges up within

in Jacques Demy
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/1/64/169). 155 Diary, 17 July 72 (LA 6/1/64/188). 156 Diary, 21 July 72 (LA 6/1/64/192). 157 C. G. Jung, ‘The Phenomenology of the Spirit in Fairytales’ (1948) in The Archetypes and the Collective Unconscious, The Collected Works , Vol. 9, 1, 2nd edn (London: Routledge and Kegan

in Lindsay Anderson

detached from the narrative. On the one hand, there is the material displayed in the mise en scène (for example, Franco Citti, who does not so much ‘play’ Ciappelletto as he is disguised as Ciappelletto). On the other hand, there is the allegorical (Citti is a ‘decoration’, the perfect example of Pasolini’s myth of the common people). 2 The ambiguity of the image has nothing to do with the phenomenology of the real, but

in Cinema – Italy

the position given to aesthetics by phenomenology. This takes categorisation down to the level of how categories can be applied to experience when conventional, subject–object frameworks have been suspended. Although this leaves the classification of eco-art open, it nevertheless shows that the openness is a result of the complexities of our aesthetic rootedness in the world, where ‘aesthetic’ is understood in sensory, causal and metaphorical terms. Wildlife art does not receive the critical attention that it deserves. In Chapter 10, William Welstead considers how

in Extending ecocriticism
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Approaching performance in Spanish film

Spanish film magazines of the 1920s and 1930s’, Eva Woods Peiró locates specific instances in which writers, directors and actors of the 1920s referenced the actual object of the camera in relationship to film acting and performance. She further shows how, contrary to how Spaniards have been represented or have portrayed themselves throughout history, the phenomenology of technological mediation –​here, acting –​is deeply embedded in Spanish filmic culture. This chapter includes extensive archival work in order to analyse how Spanish critics of silent film regularly

in Performance and Spanish film
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in Nantes during which tourists could walk in the director’s footsteps and visit the key locations of his cinema. Given Demy’s concerns for his films to achieve posthumous recognition, we can assume that he would have been very flattered by such a celebration of his work, although the merchandising in his name and the hermetic projection of his legacy may have made him uneasy. References Ahmed, Sara (2006) Queer Phenomenology: Orientation, Objects, Others, Durham, NC, Duke University Press. Altman, Rick (1987) The American Film Musical, Bloomington, IN, Indiana

in Jacques Demy

terms of purely external attributes, and the sense of the self as centre of the world, as a kind of inalienable point from which to perceive the world, betray the influence on Masculin féminin of the phenomenology associated with Sartre and Merleau-Ponty, philosophers frequently cited by Godard in interviews in this period. Both these writers argued that a person’s character was not some mysterious essence that was slowly

in Jean-Luc Godard
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Sound, signification and materiality

undertaken by Vivian Sobchack, Laura U. Marks and Brian Massumi have been formulated in ways that seek to engage with the sensory, both in relation to the significatory and as distinct from it. Vivian Sobchack’s work on film has drawn on phenomenology to explore the relationships between bodily experience and contemporary moving-i mage culture, and considers film in terms of the ways in which it represents and re-articulates our

in Cinesonica