Les Structures De L Exp Rience Filmique

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both "mine" and "another's." In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.

Both a history of film theory and an introduction to the work of the most important writers in the field, Andrew's volume reveals the bases of thought of such major theorists as Munsterberg, Arnheim, Eisenstein, Balazs, Kracauer, Bazin, Mitry, and Metz.

This encyclopedia presents phenomenological thought and the phenomenological movement within philosophy and within more than a score of other disciplines on a level accessible to professional colleagues of other orientations as well as to advanced undergraduate and graduate students. Entries average 3,000 words. In practically all cases, they include lists of works "For Further Study." The Introduction briefly chronicles the changing phenomenological agenda and compares phenomenology with other 20th Century movements. The 166 entries are a baut matters of seven sorts: ( 1) the faur broad tendencies and periods within the phenomenological movement; (2) twenty-three national traditions ofphenomenology; (3) twenty-two philosophical sub-disciplines, including those referred to with the formula "the philosophy of x"; (4) phenomenological tendencies within twenty-one non-philosophical dis ciplines; (5) forty major phenomenological topics; (6) twenty-eight leading phenomenological figures; and (7) twenty-seven non-phenomenological figures and movements ofinteresting sim ilarities and differences with phenomenology. Conventions Concern ing persons, years ofbirth and death are given upon first mention in an entry ofthe names of deceased non-phenomenologists. The names of persons believed tobe phenomenologists and also, for cross-referencing purposes, the titles of other entries are printed entirely in SMALL CAPITAL letters, also upon first mention. In addition, all words thus occurring in all small capital letters are listed in the index with the numbers of all pages on which they occur. To facilitate indexing, Chinese, Hungarian, and Japanese names have been re-arranged so that the personal name precedes the family name.

Vivre Ici analyzes a diverse selection of contemporary French documentaries about spaces and places in France. Integrating film theory, eco-criticism and cultural history, Levine investigates documentary cinema as experience. The book reveals a collage-like, fragmented vision of France as seen through documentary cameras and explores the social and political consequences of these “films that matter.”

The Routledge Companion to Philosophy and Film is the first comprehensive volume to explore the main themes, topics, thinkers and issues in philosophy and film. The Companion features sixty specially commissioned chapters from international scholars and is divided into four clear parts: • issues and concepts • authors and trends • genres • film as philosophy. Part one is a comprehensive section examining key concepts, including chapters on acting, censorship, character, depiction, ethics, genre, interpretation, narrative, reception and spectatorship and style. Part two covers authors and scholars of film and significant theories Part three examines genres such as documentary, experimental cinema, horror, comedy and tragedy. Part four includes chapters on key directors such as Tarkovsky, Bergman and Terrence Malick and on particular films including Memento. Each chapter includes a section of annotated further reading and is cross-referenced to related entries. The Routledge Companion to Philosophy and Film is essential reading for anyone interested in philosophy of film, aesthetics and film and cinema studies.

Memory, Subjectivity and Independent Chinese Cinema provides a historically informed examination of independent moving image works made between 1990 and 2010 in China. Showcasing an evolving personal mode of narrating memory, documenting reality, and inscribing subjectivity in over sixteen selected works that range from narrative film and documentary to experimental video and digital media (even including a multimedia avant-garde play), this book presents a provocative portrait of the independent filmmakers as a peculiarly pained yet active group of historical subjects of the transitional, post-socialist era. Through a connected investigation of cultural and cinematic concepts including historical consciousness, personal memory, narrative, performance, subjectivity, spatiality, and the body, Wang weaves a critical narrative of the formation of a unique post-socialist cultural consciousness that enables independent cinema and media to become a highly significant and effective conduit for historical thinking in contemporary China. Covering directors such as Zhang Yimou, Chen Kaige, Jia Zhangke, Jiang Wen, Lou Ye, Meng Jinghui, Wang Bing, Wang Guangli, Duan Jinchuan, Cui Zi'en, Shi Tou, and Tang Danhong, this book is essential reading for all students and scholars in Chinese film.

"The Careers of Burt Lancaster and Kirk Douglas as Referenced in Literature" is a study of the perception of these two Hollywood megastars and their work, as presented in the text and context of references and allusions found in world literature. This book also aims to establish the impact factor of the two actors and their major films, as well as to provide extensive data for further studies of the complex and bilateral relationships between film and literature. The pertinent quotations have been extracted from over 150 works—novels, short stories, plays, poems and some nonfiction biographies and memoirs (excluding those focused on film celebrities)—by more than 120 authors. The main body of the book consists of two parts, each devoted to one actor and each having five identical sections. In the first section, references to the actor’s films are discussed while the second section presents references to the actor himself. The third section shows the complete list of references found to the actor and his films, including references not mentioned in the first two sections—either because of their relative insignificance, the lack of an English translation in case of foreign-language works or repetitiveness and/or abundance in a given work. The fourth section offers the credits of the films referenced, and the fifth section presents the actor’s complete monographic bibliography. The third part of the book, ‘Epilogue: Final Remarks and Conclusions,’ provides an analysis and classification of all the references and allusions presented in the main body, and it elaborates on the friendship of the two actors. College professors and students interested in film studies, particularly film analysis and criticism, film perception and film genres, will find this book of great interest. It will also appeal to people interested in biographical books on movie personalities and movie fans, especially those interested in westerns, film noir and the careers of Burt Lancaster and Kirk Douglas.

This book focuses on the perception of the names, personae, performances and films of three Hollywood megastars, Gregory Peck, Robert Mitchum and William Holden, as presented in the references and allusions encountered in American and foreign literature. Its secondary aim is to establish the ‘impact factor’ of the three actors and their major films and provide extensive data for further studies on the complex and bilateral relationships between film and literature. The pertinent quotations in ‘Three Hollywood Stalwarts in Literature: A Study in Film Perception Through References to Peck, Mitchum and Holden’ have been extracted from nearly 220 works by about 140 authors. The majority of the works were written by acclaimed authors; amongst them are some well-known American mainstream writers such as John Updike, John Irving, Fannie Flagg and Anne Tyler; some leaders of the mystery genre include Martha Grimes, Stuart Kaminsky, Elmore Leonard, Sara Paretsky; and a few masters of other popular genres, such as Stephen King and Dean Koontz. The global flavor of the citations is provided by international authors (e.g., Julio Cortázar, Elizabeth Hay, Henri Charrière, Sebastien Japrisot) and authors born to first-generation U.S. immigrants (e.g., Oscar Hijuelos). Almost seventy films referenced in world literature are discussed in the book, and those mentioned in the biggest number of works include ‘Sunset Boulevard’, ‘The Wild Bunch’, ‘To Kill a Mockingbird’, ‘Roman Holiday’, ‘Spellbound’, ‘The Guns of Navarone’, and ‘Duel in the Sun’, among others. This book will appeal to college professors and students interested in film studies, specifically film analysis and criticism, film perception, and film genres. It will also hold interest for the general reader interested in biographies of movie personalities and the careers of the three actors, movie and stage actors, and fans of the western, film noir, and war genres.