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to appreciate the seventh art as such and to identify political and moral priorities through reflexive analysis (Andrew 1978 : 64). It was this pedagogic value of cinema, at the crossroads of phenomenology, ethics, and politics, that brought Bazin to cultural activism, leading him to deliver countless lectures in factories and meeting-halls, to coordinate Objectif 49, a prominent ciné-club which rallied left

in Eric Rohmer
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– including feminist and queer approaches, political readings and phenomenology – and suggests new ways of understanding her films, in particular through their use of the child’s perspective, and 2 The cinema of Lucrecia Martel address to the senses and perception, which it argues serves to renew cinematic language and thought.1 Lucrecia Martel (b. 1966) grew up in Salta province, north-west Argentina, in a conservative middle-class family, and it is this milieu which is depicted in her first three features, which draw on memories of growing up in Salta, and keen

in The cinema of Lucrecia Martel

change. Lola is constructed as an embodied subject. When we first see her emerging from the dancing girls and sailors in the Eldorado her body dictates her actions; she notices a fold in her tights and lifts her leg to smooth them. In many ways, Lola illustrates one of the premises of corporeal phenomenology as outlined by Merleau-Ponty: ‘nous sommes au monde par notre corps, en tant que nous percevons le monde avec notre corps. Mais en reprenant ainsi contact avec le corps et avec le monde, c’est aussi nous-même que nous allons retrouver, puisque, si l’on perçoit avec

in Jacques Demy
Bodies, love and jealousy

, 20 July, 18–19 . Seguret , O. ( 1991 ), ‘Rivette, artiste peintre’ , Libération , 15 May. Seguret , O. ( 2001 ), ‘Va voir Rivette’ , Libération , 17 May. Silverman , K. ( 1988 ), The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema , Bloomington , Indiana University Press . Sobchack , V. ( 1992 ), The Address of the Eye: A Phenomenology of the Film Experience , Princeton , Princeton University Press

in Jacques Rivette
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excellent example here would be Montgomery, 2007). An attention to media phenomenology, to the nature of mediation as an experience of consciousness in relation to sensory input, has gradually strengthened in media research on form. Much work in this vein has engaged in one way or another with the idea of ‘witness’, not only in the sense of an effect upon perception produced by formal organisation (the sense in which I discussed it earlier), but in its broader cognitive and affective implications. In recent studies John Ellis (for instance, 2009) has developed this notion

in Theorising Media

suggests) the international capitalist economy. As Penley remarks, ‘what seems at first like an obsessive phenomenology’ in Godard’s questions about space and time ‘is gradually revealed to be an interest in the institutional organisation of space and time and in the power of those spatial and temporal grids’ (Penley 1982 : 34). This concern, as Penley recognises, testifies to the influence of Michel Foucault’s research into institutionalised

in Jean-Luc Godard

rather different theory of knowledge to that set out in the early aesthetic. The early aesthetic was based upon a combination of premises and notions derived from existentialism, phenomenology, and German idealist philosophy. Here, purposive projects play only a limited role within the overall intuitive character of the Lebenswelt , and men seek to grasp freedom and totality

in Lukácsian film theory and cinema
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Touch/cut

) reconfiguring visual pleasure as a phenomenology of haptic contact. The cut touches. It is this structure, then, that Breillat takes up again in Romance . The later film’s two most startling edits both cut to close-up, haptic images: the jelly on Marie’s stomach, and, most dramatically, the emergent baby’s head in the birth scene. By the time we see Casar’s double expel the stone dildo in Anatomie de l

in The new pornographies
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human being among other human beings, or, if you will, a 14Exposed humane human being among other humane human beings, at a certain time and in a certain cultural context. We are human by nature, but we can only become humane human beings in a community (Kindeberg 2011:42f, 67f). Communication theorist James W. Carey’s theories (1992, 1998) are also of significance for this analysis. In his studies he foregrounds the importance of anthropology and phenomenology for understanding the relationship between communication and culture. Carey’s innovative view (at the time

in Exposed
class and the politics of impulse in Time Without Pity (1957), The Gypsy and the Gentleman (1957), Blind Date (1959) and The Criminal (1960)

. 16 Maurice Merleau-Ponty, Phenomenology of Perception , trans. Colin Smith (London, Routledge, 1962 ), pp. 316–17. 17 Michel Mourlet, ‘The Beauty of Knowledge: Joseph Losey’, trans. by David Wilson, in Jim Hillier, ed., Cahiers du Cinéma 1960-1968: New Wave, New Cinema, Reevaluating Hollywood (Cambridge, MA, Harvard University

in Joseph Losey