Hermeneutics Of The Film World

This book identifies a new methodological strategy for the interpretation of film philosophizing. Many recent works in film philosophy, adopting the approach identified with the term film as philosophy, have considered film as capable of doing philosophy. Focused on the basic relationship between film and filmgoer, the proposed method is founded on the concept of the film world. Combining Merleau-Ponty’s and Ricœur’s philosophies, and reconsidering Goodman’s theory of worldmaking, the film world becomes the hermeneutic horizon from which film philosophical thought can emerge. The book shows how Ricœurian methodology has the potential to provide a valuable resource for film studies by inviting scholars to consider film interpretation in terms of film world hermeneutics.

This book shows how a masterpiece of experimental cinema can be interpreted through hermeneutics of the film world. As an application of Ricœurian methodology to a non-narrative film, the book calls into question the fundamental concept of the film world. Firmly rooted within the context of experimental cinema, Stan Brakhage’s Dog Star Man was not created on the basis of a narrative structure and representation of characters, places and events, but on very different presuppositions. The techniques with which Brakhage worked on celluloid and used frames as canvases, as well as his choice to make the film without dialogue and sound, exhort the interpreter to directly question the philosophical language of moving images.

Interpreting and Transmitting Kynicism in Joker: The Dark Side of Film Fandom focuses on fan discourse and discussion surrounding Todd Phillips’s Joker (2019), analyzing how white nationalist movie fans code racist, sexist, ableist, and otherwise marginalizing logics into seemingly innocuous speech. Kyle A. Hammonds posits that, by arguing that their communication is “just their interpretation” of a movie, rather than explicitly political speech, white nationalists can communicate bigoted, extremist rhetoric under the pretext of good-faith film criticism. Hammonds leverages hermeneutic traditions often overlooked in communication and fan studies research to argue that interpretation is the key element of fan communication processes in struggles for authority over the meaning of texts—and that fan communities have a civic duty to identify and delegitimize exclusionary interpretations of pop culture in their fandom.

This book offers a bold and dynamic examination of Lars von Trier’s cinema by interweaving philosophy and theology with close attention to aesthetics through style and narrative. It explores the prophetic voice of von Trier's films, juxtaposing them with Ezekiel's prophecy and Ricoeur’s symbols of evil, myth, and hermeneutics of revelation. The films of Lars von Trier are categorized as extreme cinema, inducing trauma and emotional rupture rarely paralleled, while challenging audiences to respond in new ways. This volume argues that the spiritual, biblical content of the films holds a key to understanding von Trier’s oeuvre of excess. Spiritual conflict is the mechanism that unpacks the films’ notorious excess with explosive, centrifugal force. By confronting the spectator with spiritual conflict through evil, von Trier's films truthfully and prophetically expose the spectator’s complicity in personal and structural evil, forcing self-examination through theological themes, analogous to the prophetic voice of the transgressive Hebrew prophet Ezekiel, his prophecy, and its form of delivery. Placed in context with the prophetic voices of Dante, Milton, Dostoyevsky, O’Connor, and Tarkovsky, this volume offers a theoretical framework beyond von Trier. It will be of great interest to scholars in Film Studies, Film and Philosophy, Film and Theology.

Film Worlds unpacks the significance of the "worlds" that narrative films create, offering an innovative perspective on cinema as art. Drawing on aesthetics and the philosophy of art in both the continental and analytic traditions, as well as classical and contemporary film theory, it weaves together multiple strands of thought and analysis to provide new understandings of filmic representation, fictionality, expression, self-reflexivity, style, and the full range of cinema's affective and symbolic dimensions. Always more than "fictional worlds" and "storyworlds" on account of cinema's perceptual, cognitive, and affective nature, film worlds are theorized as immersive and transformative artistic realities. As such, they are capable of fostering novel ways of seeing, feeling, and understanding experience. Engaging with the writings of Jean Mitry, Pier Paolo Pasolini, Christian Metz, David Bordwell, Gilles Deleuze, and Hans-Georg Gadamer, among other thinkers, Film Worlds extends Nelson Goodman's analytic account of symbolic and artistic "worldmaking" to cinema, expands on French philosopher Mikel Dufrenne's phenomenology of aesthetic experience in relation to films and their worlds, and addresses the hermeneutic dimensions of cinematic art. It emphasizes what both celluloid and digital filmmaking and viewing share with the creation and experience of all art, while at the same time recognizing what is unique to the moving image in aesthetic terms. The resulting framework reconciles central aspects of realist and formalist/neo-formalist positions in film theory while also moving beyond them and seeks to open new avenues of exploration in film studies and the philosophy of film.

The Dardenne Brothers’ Cinematic Parables examines the work of Belgian filmmakers Jean-Pierre and Luc Dardenne, who have been celebrated for their powerfully affecting social realist films. Though the Dardenne brothers’ films rarely mention religion or God, they have received wide recognition for their moral complexity and spiritual resonance. This book brings the Dardennes’ filmography into consideration with theological aesthetics, Christian ethics, phenomenological film theory, and continental philosophy. The author explores the brothers’ nine major films—beginning with The Promise (1996) and culminating in Young Ahmed (2019)—through the hermeneutics of philosopher Paul Ricoeur. By using Ricoeur’s description of "parable" as a "narrative-metaphor" which generates an existential limit-experience, Joel Mayward crafts an innovative Ricoeurian hermeneutic for making theological interpretations of cinema. Drawing upon resources from three disciplinary spheres—theology, philosophy, and film studies—in a dynamic interweaving approach, Mayward proposes that the Dardennes create postsecular cinematic parables which evoke theological and ethical responses in audiences’ imaginations through the brothers’ distinctive filmmaking style, what is termed "transcendent realism." The book ultimately demonstrates how the Dardenne brothers are truly doing, not merely depicting, theology and ethics through the cinematic form—it presents film as theology, what Mayward refers to as "theocinematics." This is valuable reading for scholars of theology, philosophy, and film studies, as well as film critics and cinephiles interested in the cinema of the Dardenne brothers.

Hailed as one of America's original art forms, film has the distinctive character of crossing high and low art. But film has done more than this. According to American philosopher Stanley Cavell, film was also a place where America in the 1930s and 1940s did its thinking, a tradition that was taken up and enriched throughout world cinema. Can film indeed think? That is, can film do the work of philosophy? Following Cavell's lead to think along the tear of the analytic-continental traditions, this book draws from both sides of the philosophical divide to reflect on this question. Spanning generations and disciplines, pondering everything from art house classics to mainstream blockbusters, Thinking Film: Philosophy at the Movies aims to fling open the doors to this conversation on all sides. Inquiring into both philosophy's word on film and film's word to philosophy, the interdisciplinary dialogue of this book traverses the conceptual and the particular as it considers how film catalyzes our thinking and sets us talking. After viewing the world through film, we find our world--and ourselves--transformed by deeper understanding and new possibilities. This book aims to provide a novel and engaging way in to thinking with and about this enduringly popular art form.

This volume presents selected papers from the first symposium on Hermeneutics and Translation Studies held at Cologne in 2011. Translational Hermeneutics works at the intersection of theory and practice. It foregrounds both hermeneutical philosophy and the various traditions -- especially phenomenology -- to which it is indebted, in order to explore the ways in which the individual person figures at the center of the mediating process of translation. Translational Hermeneutics offers alternative ways to understand the process of translating: it is a holistic and strategic process that enhances understanding by assisting the transmission of meaning in and across multiple social and cultural contexts. The papers in this collection accordingly provide a preliminary outline of Translational Hermeneutics. Gathered together, these papers broach a new discipline within Translation Studies. While some essays explain the theoretical foundations of this approach, others concentrate on practical applications in diverse fields, for example literary studies, and postcolonial studies.