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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
Abstract only

/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
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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
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invariably accompany such spectacles. Klein’s fascination with sport and its phenomenology, like that of fashion, again resonates in the writings of Barthes: At certain periods, in certain societies, the theatre has had a major social function: it collected the entire city within a shared experience: the knowledge of its own passions. Today it is sport that in its way performs this function. Except that the city has enlarged: it is no longer a town, it is a country, often even … ­ the whole world; sport is a great modern institution cast in the ancestral forms of spectacle

in Regarding the real

linear readings. The figure of death is one of the most challenging of these elements. Death is a key figure of postmodern ethics. For Slavoj Žižek, the pursuit of the Real of desire involves, in Hegel’s terms, an inevitable tarrying with the negative. In the preface of Phenomenology of Spirit , Hegel writes: ‘[T]he life of the Spirit is not the life that shrinks from death and keeps itself untouched by

in Patrice Leconte