Where Film Meets Philosophy

Erscheinungsjahr 2013
ISBN: 978-0-231-16132-9
Verlag: Columbia University Press

Buch, Englisch, 264 Seiten, Format (B × H): 158 mm x 238 mm, Gewicht: 480 g

Reihe: Film and Culture Series

Hunter Vaughan interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles Deleuze's image-philosophy, Vaughan applies a rich theoretical framework to a comparative analysis of Jean-Luc Godard's films, which critique the audio-visual illusion of empirical observation (objectivity), and the cinema of Alain Resnais, in which the sound-image generates innovative portrayals of individual experience (subjectivity). Both filmmakers radically upend conventional film practices and challenge philosophical traditions to alter our understanding of the self, the world, and the relationship between the two. Films discussed in detail include Godard's Vivre sa vie (1962), Contempt (1963), and 2 or 3 Things I Know About Her (1967); and Resnais's Hiroshima, mon amour (1959), Last Year at Marienbad (1961), and The War Is Over (1966). Situating the formative works of these filmmakers within a broader philosophical context, Vaughan pioneers a phenomenological film semiotics linking two disparate methodologies to the mirrored achievements of two seemingly irreconcilable artists.

Autoren/Hrsg.

Vaughan, Hunter

Fachgebiete

• Geisteswissenschaften Philosophie Ästhetik
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmtheorie, Filmanalyse
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Einzelne Filmschauspieler, Filmregisseure, Drehbuchautoren
• Geisteswissenschaften Philosophie Moderne Philosophische Disziplinen Phänomenologie
• Sozialwissenschaften Medien- und Kommunikationswissenschaften Medienwissenschaften Film, Video, Foto

Inhaltsverzeichnis

List of IllustrationsAcknowledgmentsIntroduction: Where Film Meets Philosophy1. Phenomenology and the Viewing Subject2. Film Connotation and the Signified Subject3. Sound, Image, and the Order of Meaning4. Alain Resnais and the Code of Subjectivity5. Jean-Luc Godard and the Code of ObjectivityConclusion: Where Film and Philosophy May LeadNotesBibliographyIndex

Leseproben

Read the chapter "Jean-Luc Godard and the Code of Objectivity," from Where Film Meets Philosophy (to view in full screen, click on icon in bottom right-hand corner)

Über Autor(innen)

Hunter Vaughan is assistant professor of English and cinema studies at Oakland University. His scholarly interests include the moving image, philosophy, and the environment.