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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
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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

hand in Au hasard, Balthazar: ‘we are shown the act in isolation’, a hand’s ‘isolation in the frame indicating its independence of … conscious will’ (1969: 108). Whereas such strategies represented in André Bazin’s terms (1969) the phenomenology of grace, a deference to the spiritual, the automation of Bentley’s jailers represents an emptying deference to the processes of law. Clarke returns to the frame from which Bentley dropped, with the rope moving where he had been standing. He holds a shot of two onlookers shifting uneasily, overlaying captions which quote the

in Alan Clarke
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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