THE FILM EXP

THE FILM EXP
Available:
Author: CORRIGAN T WHITE P
Pages: 329
ISBN: 1137463953
Release: 2015-04-01
Editor: Unknown

DESCRIPTION OF THE BOOK:

The Film Experience

The Film Experience
Available:
Author: Timothy Corrigan,Patricia White
Pages: 518
ISBN: 9780312681708
Release: 2012-01-03
Editor: Macmillan

DESCRIPTION OF THE BOOK:

"A comprehensive introduction to film that recognizes students as movie fans and helps them understand the art form's full scope. The authors situate their strong coverage of the medium's formal elements within the larger cultural contexts that inform the ways we watch film, from economics and exhibition to marketing and the star system." -- Blackwells.

The Address of the Eye

The Address of the Eye
Available:
Author: Vivian Sobchack
Pages: 358
ISBN: 9780691213279
Release: 2020-05-05
Editor: Princeton University Press

DESCRIPTION OF THE BOOK:

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.

Structures Film Experience Jean Pierre

Structures Film Experience Jean Pierre
Available:
Author: Julian Hanich,Daniel Fairfax
Pages: 360
ISBN: 9462986568
Release: 2019-08-26
Editor: Film Theory in Media History

DESCRIPTION OF THE BOOK:

For the first time this volume makes Jean-Pierre Meunier's influential thoughts on the film experience available for an English-speaking readership. Introduced and commented by specialists in film studies and philosophy, Meunier's intricate phenomenological descriptions of the spectator's engagement with fiction films, documentaries and home movies can reach the wide audience they have deserved ever since their publication in French in 1969.

The Film Experience

The Film Experience
Available:
Author: Timothy Corrigan,Patricia White
Pages: 329
ISBN: 9781319093563
Release: 2017-11-10
Editor: Macmillan Higher Education

DESCRIPTION OF THE BOOK:

The Film Experience is a comprehensive introduction to film that recognizes students as movie fans while surpassing all other texts in helping them understand the art form's full scope. Noted scholars and teachers Tim Corrigan and Patricia White capture the complete film experience, situating their strong coverage of the medium's formal elements within the larger cultural contexts that inform the ways we all watch film--from economics and exhibition to marketing and the star system. A host of learning tools gives students the support they need to make the transition from movie fan to critical viewer. Now with a sharper focus that highlights the essential formal and cultural concepts of cinema, and a powerful new suite of video and media, The Film Experience is the consummate introductory film text. Read the preface.

Phenomenology of Film

Phenomenology of Film
Available:
Author: Shawn Loht
Pages: 220
ISBN: 9781498519038
Release: 2017-08-25
Editor: Lexington Books

DESCRIPTION OF THE BOOK:

Phenomenology of Film: A Heideggerian Account of the Film Experience uses the philosophy of Martin Heidegger as a framework for addressing key issues in the philosophy of film. This study grapples with the question of how we can reconcile film as a popular entertainment medium with Heidegger’s own various critiques of popular media and culture throughout his career. Shawn Loht also explores topics such as the ontology of film and moving images; the phenomenological character of the viewer experience; film conceived as an art medium; and the function of films as vehicles for philosophical thought. He further discusses important concepts from Heidegger’s philosophy--Dasein, existentiality, world, art and poetry, and the nature of philosophy. The first four chapters take up these issues from a theoretical perspective. The remaining chapters provide robust application of the theoretical material to the films of three contemporary filmmakers: Terrence Malick, Michael Haneke, and David Gordon Green. As the first single-author monograph that takes up Heidegger’s relevance to film, Phenomenology of Film will be of particular interest to philosophers of film and specialists of film and media studies working in the intersection of phenomenology and film or phenomenological approaches to issues in popular culture.

The Multisensory Film Experience

The Multisensory Film Experience
Available:
Author: Luis Rocha Antunes
Pages: 218
ISBN: 9781783206308
Release: 2016-05-01
Editor: Intellect Books

DESCRIPTION OF THE BOOK:

When the lights dim in a movie theatre and the projector begins to click and whir, the light and sounds of the motion picture become the gateway to a multisensory experience. Moving beyond the oft-discussed perceptual elements of vision and hearing, The Multisensory Film Experience analyses temperature, pain and balance in order to argue that it is the experience of film that’s inherently multisensory, not the medium. Luis Rocha Antunes here explores the work of well-loved filmmakers Erik Jensen, Gus Van Sant and Ki-Duk Kim to offer new insights into how viewers experience films and understand their stories. This is an original contribution to an emerging field of research and will become essential reading for film scholars.

The Cult Film Experience

The Cult Film Experience
Available:
Author: J. P. Telotte
Pages: 236
ISBN: 9780292761858
Release: 2014-02-19
Editor: University of Texas Press

DESCRIPTION OF THE BOOK:

"Play it again, Sam" is the motto of cult film enthusiasts, who will watch their favorite movie over and over, "beyond all reason." What is the appeal of cult movies? Why do fans turn up in droves at midnight movies or sit through the same three-hanky classics from Hollywood's golden era? These are some of the questions J. P. Telotte and twelve other noted film scholars consider in this groundbreaking study of the cult film. The book identifies two basic types of cult films—older Hollywood movies, such as Casablanca, that have developed a cult following and "midnight movies," most notably The Rocky Horror Picture Show. Telotte, Bruce Kawin, and Timothy Corrigan offer thought-provoking discussions about why these two types of movies become cult films, the sort of audience they attract, and the needs they fulfill for that audience. Subsequent essays employ a variety of cultural, feminist, ideological, and poststructural strategies for exploring these films. In a section on the classical cult film, the movie Casablanca receives extensive treatment. An essay by T. J. Ross considers Beat the Devil as a send-up of cult films, while another essay by Wade Jennings analyzes the cult star phenomenon as personified in Judy Garland. "Midnight movie madness" is explored in essays on The Rocky Horror Picture Show, movie satires of the 1950s, science fiction double features, and horror thrillers. Illustrated with scenes from favorite movies and written for both fans and scholars, The Cult Film Experience will appeal to a wider audience than the "usual suspects."

Launchpad Solo for the Film Experience Six Month Access

Launchpad Solo for the Film Experience  Six Month Access
Available:
Author: Corrigan,Patricia White
Pages: 329
ISBN: 1319093523
Release: 2017-11-10
Editor: Unknown

DESCRIPTION OF THE BOOK:

Melancholy Emotion in Contemporary Cinema

Melancholy Emotion in Contemporary Cinema
Available:
Author: Francesco Sticchi
Pages: 198
ISBN: 9780429847455
Release: 2019-01-15
Editor: Routledge

DESCRIPTION OF THE BOOK:

This work outlines a new methodology for film analysis based on the radical materialist thought of Baruch Spinoza, re-evaluating contemporary cognitive media theory and philosophical theories on the emotional and intellectual aspects of film experience. Sticchi’s exploration of Spinozian philosophy creates an experiential constructive model to blend the affective and intellectual aspects of cognition, and to combine it with different philosophical interpretations of film theory. Spinoza’s embodied philosophy rejected logical and ethical dualisms, and established a perfect parallelism between sensation and reason and provides the opportunity to address negative emotions and sad passions without referring exclusively to traditional notions such as catharsis or sublimation, and to put forth a practical/embodied notion of Film-Philosophy. This new analytical approach is tested on four case studies, films that challenge the viewer’s emotional engagement since they display situations of cosmic failure and depict controversial and damaged characters: A Serious Man (2009); Melancholia (2011); The Act of Killing (2012) and Only Lovers Left Alive (2013). This book is an important addition to the literature in Film Studies, particularly in Cognitive Film Theory and Philosophy of Film. Its affective and semantic analyses of film experience (studies of embodied conceptualisation), connecting Spinoza’s thought to the analysis of audiovisual media, will also be of interest to Philosophy scholars and in academic courses of film theory, film-philosophy and cognitive film studies.

Eye of the Century

Eye of the Century
Available:
Author: Francesco Casetti
Pages: 288
ISBN: 9780231511490
Release: 2008-05-14
Editor: Columbia University Press

DESCRIPTION OF THE BOOK:

Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity. He suggests that film defined a unique gaze, not only because it recorded many of the century's most important events, but also because it determined the manner in which they were received. Casetti begins by examining film's nature as a medium in an age obsessed with immediacy, nearness, and accessibility. He considers the myths and rituals cinema constructed on the screen and in the theater and how they provided new images and behaviors that responded to emerging concerns, ideas, and social orders. Film also succeeded in negotiating the different needs of modernity, comparing and uniting conflicting stimuli, providing answers in a world torn apart by conflict, and satisfying a desire for everydayness, as well as lightness, in people's lives. The ability to communicate, the power to inform, and the capacity to negotiate-these are the three factors that defined film's function and outlook and made the medium a relevant and vital art form of its time. So what kind of gaze did film create? Film cultivated a personal gaze, intimately tied to the emergence of point of view, but also able to restore the immediacy of the real; a complex gaze, in which reality and imagination were combined; a piercing gaze, achieved by machine, and yet deeply anthropomorphic; an excited gaze, rich in perceptive stimuli, but also attentive to the spectator's orientation; and an immersive gaze, which gave the impression of being inside the seen world while also maintaining a sense of distance. Each of these gazes combined two different qualities and balanced them. The result was an ever inventive synthesis that strived to bring about true compromises without ever sacrificing the complexity of contradiction. As Casetti demonstrates, film proposed a vision that, in making opposites permeable, modeled itself on an oxymoronic principle. In this sense, film is the key to reading and understanding the modern experience.

Audience Effect

Audience Effect
Available:
Author: Julian Hanich
Pages: 240
ISBN: 9781474414968
Release: 2018-03-07
Editor: Edinburgh University Press

DESCRIPTION OF THE BOOK:

The first comprehensive conceptualisation of Russia and neighbouring Eastern Europe in post-1989 Nordic film

Moving Viewers

Moving Viewers
Available:
Author: Carl Plantinga
Pages: 296
ISBN: 0520943910
Release: 2009-04-08
Editor: Univ of California Press

DESCRIPTION OF THE BOOK:

Everyone knows the thrill of being transported by a film, but what is it that makes movie watching such a compelling emotional experience? In Moving Viewers, Carl Plantinga explores this question and the implications of its answer for aesthetics, the psychology of spectatorship, and the place of movies in culture. Through an in-depth discussion of mainstream Hollywood films, Plantinga investigates what he terms "the paradox of negative emotion" and the function of mainstream narratives as ritualistic fantasies. He describes the sensual nature of the movies and shows how film emotions are often elicited for rhetorical purposes. He uses cognitive science and philosophical aesthetics to demonstrate why cinema may deliver a similar emotional charge for diverse audiences.

Voices of Film Experience

Voices of Film Experience
Available:
Author: Jay Leyda
Pages: 544
ISBN: UOM:39015000673379
Release: 1977
Editor: Macmillan Publishing Company

DESCRIPTION OF THE BOOK:

In quotations ranging from offhand remarks to formal interviews and articles, past and present filmmakers review their work, the problems encountered and solved, and the complexities of cinematic art

Cinema and Experience

Cinema and Experience
Available:
Author: Miriam Bratu Hansen,Marian Bratu Hansen
Pages: 380
ISBN: 9780520265592
Release: 2012
Editor: Univ of California Press

DESCRIPTION OF THE BOOK:

"Like a careful gardener, Miriam Hansen planted and interwove traditions of Frankfurt critical theory, modern film history, and her own critical passions and curiosity. She is an important transatlantic bridge for the traditions of enlightenment and film art. She was not only a theoretical mind, but someone who also exerted a strong, practical influence on filmmaking. Because of her, the Minutenfilm saw a rebirth, as well as film projected onto multiple screens, the Max Ophuls renaissance, and much more. We auteurs listened to her. She was--as she sat in her Chicago office and worked, occasionally glancing over the lake--our prophet." --Alexander Kluge, "Berlin Journal" ""Cinema and Experience" is a doubly poignant book: simultaneously a soulful investigation into the complex fate of experience in a mass-mediated modernity and the posthumous publication of the culminating masterwork of one the master scholars of cinema studies. Rich and probing insights resonate from every page of this wonderful volume." --Dana Polan, author of "Scenes of Instruction: The Beginnings of the U.S. Study of Film" "Miriam Hansen's brilliant analysis of the cinematic experience combines a democratic respect for mass culture with the highest standards of scholarly excellence. Mickey Mouse, slapstick comedy, the photographic image and filmed reality become her keys to deciphering the philosophical differences between Adorno and Benjamin, and the philosophical significance of Kracauer's journalistic eye. The present--new media, social networking, drone warfare--is never out of her sight. For the beginning student and the advanced scholar in multiple disciplines, Hansen's writing is a gift, and a roadmap to every relevant scholarly debate. This is an indispensable book by an irreplaceable author. We shall miss her." --Susan Buck-Morss, author of "The Dialectics of Seeing: Walter Benjamin and the Arcades Project" "Miriam Hansen's study is the first comprehensive reconstruction of the complex theoretical frames in which Adorno, Benjamin, and Kracauer set their philosophical thoughts on film and cinema. Hansen's profound knowledge of the complete works of these influential thinkers allows her to relate questions of film and cinema aesthetics to the core thoughts of the Critical Theory of the Frankfurt School in manifold and sometimes surprisingly new ways. This study will establish a new look at the Frankfurt School as well as on film theory in general." --Gertrud Koch, author of "Siegfried Kracauer: An Introduction" "In her posthumous book, Miriam Hansen offers novel readings, both subtle and robust, of Kracauer, Benjamin, and Adorno's reflections on cinema as experience, weaving often disconnected threads into a tapestry of common concepts and concerns that highlights closeness and distance between these writers in unexpected ways. What emerges is yet another Frankfurt School: Critical Theory as media aesthetics and theory of experience. The triangulation of Adorno and Benjamin with Kracauer permits her to think beyond the annoyingly persistent accounts pitting the Eurocentric mandarin against the progressive film and media theorist. The inspirational role of Kracauer for Benjamin is finally acknowledged and Kracauer is freed from the misunderstanding of his work on photography and film as a naive realism. And who but Miriam Hansen would have been able to link Benjamin's notion of aura--explicated in a much broadened discursive and political context--to Adorno's aesthetic of natural beauty? Thinking with Adorno beyond Adorno in modernist aesthetics, with Benjamin beyond Benjamin in media theory, with Kracauer beyond Kracauer on mass culture, she keeps the legacy of Critical Theory alive for an analysis of human experience and cultural practice in our age of digital media." --Andreas Huyssen, Columbia Unive

The Routledge Companion to Philosophy and Film

The Routledge Companion to Philosophy and Film
Available:
Author: Paisley Livingston,Carl Plantinga
Pages: 704
ISBN: 9781135982744
Release: 2008-10-27
Editor: Routledge

DESCRIPTION OF THE BOOK:

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.

Engaging Cinema

Engaging Cinema
Available:
Author: Bill Nichols
Pages: 545
ISBN: 9780393934915
Release: 2010-01-28
Editor: W. W. Norton & Company

DESCRIPTION OF THE BOOK:

In what ways do films influence and interact with society? What social forces determine the kinds of movies that get made? How do movies reinforce—and sometimes overturn—social norms? As societies evolve, do the films that were once considered ‘great’ slip into obscurity? Which ones? Why? These questions, and many others like them, represent the mainstream of scholarly film studies today. In Engaging Cinema, Bill Nichols offers the first book for introductory film students that tackles these topics head-on. Published in a handy 'trade paperback' format, Engaging Cinema is inexpensive and utterly unique in the field—a perfect complement to or replacement for standard film texts.

Bion in Film Theory and Analysis

Bion in Film Theory and Analysis
Available:
Author: Carla Ambrósio Garcia
Pages: 168
ISBN: 9781317274537
Release: 2016-12-01
Editor: Taylor & Francis

DESCRIPTION OF THE BOOK:

In Bion in Film Theory and Analysis: The Retreat in Film, Carla Ambrósio Garcia introduces the rich potential of the thinking of British psychoanalyst Wilfred Bion for film theory. By so doing, she rethinks the space of the cinema as a space of retreat, and brings new insights into the representation of retreat in film. Presented in two parts, the book seeks to deepen our understanding of the film experience and psychical growth. Part I places Bion’s view on the importance of the epistemophilic instinct at the heart of a critique of the pleasure-centred theories of the cinematic apparatus of Jean-Louis Baudry, Christian Metz and Gaylyn Studlar, proposing an idea of cinema as ‘thoughts in search of a thinker’. Garcia then moves from Bion’s epistemological period to his later work, which draws on mysticism, in order to posit an emotional experience in the cinema through which the subject can be or become real (or at one with ‘O’). Part II examines representations of retreat in four European films, directed by Ingmar Bergman, Pier Paolo Pasolini, Georges Perec and Bernard Queysanne, and Manoel de Oliveira, showing them to articulate a gesture of retreat as an emotionally turbulent transitional stage in the development of the psyche – what Bion conceptualizes as caesura. Through its investigation of the retreat in cinema, the book challenges common understandings of retreat as a regressive movement by presenting it as a gesture and space that can also be future-oriented. Bion in Film Theory and Analysis will be of significant interest to academics and students of psychoanalysis, psychotherapy, and film and media studies, as well as psychoanalysts and psychotherapists.

The Tactile Eye

The Tactile Eye
Available:
Author: Jennifer M. Barker
Pages: 208
ISBN: 0520943902
Release: 2009-05-27
Editor: Univ of California Press

DESCRIPTION OF THE BOOK:

The Tactile Eye expands on phenomenological analysis and film theory in its accessible and beautifully written exploration of the visceral connection between films and their viewers. Jennifer M. Barker argues that the experience of cinema can be understood as deeply tactile—a sensuous exchange between film and viewer that goes beyond the visual and aural, gets beneath the skin, and reverberates in the body. Barker combines analysis of embodiment and phenomenological film theory to provide an expansive description of cinematic tactility. She considers feminist experimental film, early cinema, animation, and horror, as well as classic, modernist, and postmodern cinema; films from ten national cinemas; and work by Chuck Jones, Buster Keaton, the Quay Brothers, Satyajit Ray, Carolee Schneemann, and Tom Tykwer, among others.

Cinematic Ethics

Cinematic Ethics
Available:
Author: Robert Sinnerbrink
Pages: 216
ISBN: 9781317336112
Release: 2015-10-23
Editor: Routledge

DESCRIPTION OF THE BOOK:

How do movies evoke and express ethical ideas? What role does our emotional involvement play in this process? What makes the aesthetic power of cinema ethically significant? Cinematic Ethics: Exploring Ethical Experience through Film addresses these questions by examining the idea of cinema as a medium of ethical experience with the power to provoke emotional understanding and philosophical thinking. In a clear and engaging style, Robert Sinnerbrink examines the key philosophical approaches to ethics in contemporary film theory and philosophy using detailed case studies of cinematic ethics across different genres, styles, and filmic traditions. Written in a lucid and lively style that will engage both specialist and non-specialist readers, this book is ideal for use in the academic study of philosophy and film. Key features include annotated suggestions for further reading at the end of each chapter and a filmography of movies useful for teaching and researching cinematic ethics.