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By Hunter Vaughan
Hunter Vaughan interweaves phenomenology and semiotics to investigate cinema's skill to problem traditional modes of notion. Merging Maurice Merleau-Ponty's phenomenology of belief with Gilles Deleuze's image-philosophy, Vaughan applies a wealthy theoretical framework to a comparative research of Jean-Luc Godard's motion pictures, which critique the audio-visual phantasm of empirical remark (objectivity), and the cinema of Alain Resnais, during which the sound-image generates leading edge portrayals of person event (subjectivity). either filmmakers notably upend traditional movie practices and problem philosophical traditions to change our realizing of the self, the realm, and the connection among the 2. movies mentioned intimately contain Godard's Vivre sa vie (1962), Contempt (1963), and 2 or three issues i do know approximately Her (1967); and Resnais's Hiroshima, mon amour (1959), Last yr at Marienbad (1961), and The battle Is Over (1966). Situating the formative works of those filmmakers inside a broader philosophical context, Vaughan pioneers a phenomenological movie semiotics linking disparate methodologies to the reflected achievements of 2 doubtless irreconcilable artists.
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Extra info for Where Film Meets Philosophy: Godard, Resnais, and Experiments in Cinematic Thinking (Film and Culture Series)
Three four. four four. five four. 6–4. eight five. 1 five. 2 five. 3–5. five Diego’s visible prominence within the struggle Is Over 159 Nadine as lover: an airy item 163 Marianne as lover: a true topic 164 The ﬁnal dissolve among Diego and Marianne 167 Raoul Coutard turns the digicam at the viewers 186 Contempt’s ﬁlm-within-a-ﬁlm: Fritz Lang’s The Odyssey 191 a unadorned Camille appears without delay on the digicam 194 acknowledgments i need to thank the subsequent for his or her aid and aid with this undertaking given that its beginnings at Christ Church, collage of Oxford: Reidar Due, Jean-Louis Leutrat and Suzanne LiandratGuigues, Adam Marlowe, Michael Sheringham, Will Brown, and David Martin-Jones; the folks of Christ Church university, the Maison Française d’Oxford, and the Cinémathèque française. In turning it into the ebook because it appears to be like this present day, I recognize the real aid from Columbia collage Press and the worthy enter from its reviewers, and specifically thank Jennifer Crewe and John Belton, in addition to the ongoing eﬀorts of Asya Graf, Kathryn Schell, and Joe Abbott. i need to specific exact due to Dustin Iler, whose diligent studying of the ebook helped it into its ﬁnal shape. i'd additionally prefer to thank the stunning and loving Michal McConville and her kin for his or her endured help and encouragement, and my outstanding mom and dad for elevating me to pursue a stability among the lifetime of the brain and the realm at huge. the place movie MEETS PHILOSOPHY introduction the place movie Meets Philosophy developing new circuits in paintings skill developing them within the mind too. —Gilles Deleuze, Negotiations modern philosophy is composed no longer of linking ideas, yet of describing the blending of realization and the realm, its involvement in a physique, its coexistence with others, and . . . this can be a cinematic topic par excellence. —Maurice Merleau-Ponty, “Cinema and the hot Psychology” The previous 3 a long time have witnessed a burgeoning curiosity within the intersection among philosophy and cinema reviews. From Stanley Cavell’s Wittgensteinian forays into American cultural morality to Fredric Jameson’s explorations of the ﬁlmic postmodern, to the Deleuzean stream towards cinema as a medium of specific philosophical curiosity, this interdisciplinary intersection maintains to foster debate and new theoretical advancements, producing self-applied methodological phrases that variety from the positivist (“cognitive”) to the methodologically experimental (“ﬁlmosophy”). 1 regardless of its usually rigorous juggling act that retains aﬂoat such a lot of options, texts, and highbrow histories, although, the ﬁeld that has popularly become known as “ﬁlm-philosophy” turns out to have moved past—without ever essentially addressing—fundamental questions referring to what ﬁlm and philosophy proportion. that's to assert, is—and, if that is so, how is—the medium of ﬁlm philosophical? How may well the relocating snapshot aid us to appreciate our psychological and perceptual procedures, our inner constructions and our interplay with the realm exterior to bodies, or even oﬀer us new enterprises of those relationships?