Search results

You are looking at 41 - 49 of 49 items for :

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

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
Abstract only
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
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

Williams, Space and being in contemporary French cinema.indd 5 11/01/2013 15:18:30 6 Space and being in contemporary French cinema and presence (Yacavone 2008: 105). Drawing in particular on Mikel Dufrenne’s The Phenomenology of Aesthetic Experience (1953), Yacavone conceives of film worlds as intercinematic ‘object-experiences’ with a particular internal coherence intuited by the viewer (ibid.: 101), the essential duality of which may be described in terms of the polarities of external/internal, objective/subjective, representational/expressive, ontological

in Space and being in contemporary French cinema
Abstract only

possibilities, all milieus, all materialities. The essential connectedness of the relationship between signal and noise is not easily described – an indivisibility that is addressed by Michel Serres when he writes, ‘As soon as a phenomenon appears, it leaves the noise; as soon as a form looms or pokes through, it reveals itself by veiling noise. So noise is not a matter of phenomenology, so it is a matter of being itself’ (Serres

in Cinesonica

extended to ‘the conduct of life itself’, to the extent that ‘precise calculation’ had replaced ethical consideration as the dominant form of organisation of society. 24 A third, and perhaps most important, influence on Lukács’ views on modernity and alienation, was that of Hegel. In works such as The Phenomenology of Spirit and the posthumously published Lectures on the Philosophy of History , Hegel

in Realist film theory and cinema
Cinematic realism, philosophical realism and film theory

‘sufficient explanatory power to account for most of cinema’, and also have ‘generated valuable results’. These include (in summary): (1) a Marxist concept of culture, (2) a semiotic theory of sign systems, (3) formalist and neo-formalist notions, (4) a psychoanalytic theory of the subject, (5) a post-structural theory of narrative, (6) a phenomenology of film. 117 Nichols’s map is a helpful starting point for dealing with the

in Realist film theory and cinema
First Signs, Speech Day, The Gamekeeper, Tom Kite, The Price of Coal

locations include the factory James Neill Tools in Napier Street where Ronnie’s brother Danny works, Mr Warboys’s workplace at Brown Bayleys steelworks in Attercliffe and Mrs Warboys’s clothing factory, referred to as Laidlaws in the script (itself the name of a Sheffield steel company), but filmed on the premises of S.R. Gent clothiers in Heeley. The scenes in Grandpa’s house were filmed in Amberley Street, Darnall.  23 Nick Peim, ‘The History of the Present: Towards a Contemporary Phenomenology of the School’, History of Education 30 (2) 2001, pp. 170–90: 181.  24 Hines

in Barry Hines
Abstract only
Doctor Zhivago (1965), Ryan’s Daughter (1970) and A Passage to India (1984)

epic  237 already placed within the domestic sphere, a woman looking out from a window, whereas Lawrence is never shown reaching that ‘home’ his driver mentions, and he remains in transit. However, the last image of Lean’s career is not of the questing man on the far horizon but a closeup of a woman’s face: a fitting conclusion to a filmmaking career richly abundant in female-centred drama, from a director equally conversant in the epic and the intimate. Notes 1 Vivian Sobchack, ‘Surge and Splendor: A Phenomenology of the Hollywood Epic Film’, Representations

in David Lean