The notion of film consciousness is one that has played around various film and philosophical discourses without ever really surfacing as a cogent theory. Representing the first major expression of film consciousness as a tangible concept, this critical study revisits notions of memory, retentional consciousness, narrative expectation, and spatio-temporal perception while also analyzing several major films. The first half of the book focuses on understanding the elements of the film experience--and its associated consciousness--through the descriptive tools of phenomenology. The second part develops the idea of film consciousness as a unique vision of the world and as a large element in the human understanding of reality. Throughout the work, the author combines the ideas of philosophers and film theorists from phenomenology--such as Husserl, Merleau-Ponty, Bazin, and Kracauer--with the postmodernist work of Deleuze and transitional theorists Bergson and Benjamin.
Lucy Bolton compares these recent works with well-known and influential films that offer more familiar treatments of female subjectivity: Klute (1971), The Seven Year Itch (1955) and Marnie (1964).
This collection of essays is driven by the question of how we know what we know, and in particular how we can be certain about something even when we know it is an illusion.
2 (December): 60–62, 64, 66, 68. Mims, Greg. 1973. “'Spook': Thought Provoking, Relevant Drama.” New Pittsburgh Courier 17, no. 3 (November 1973). Moon, Spencer. 1997. Reel Black Talk: A Source Book of 50 American Filmmakers.
Colin McGinn–“an ingenious philosopher who thinks like a laser and writes like a dream,” according to Steven Pinker–enhances our understanding of both movies and ourselves in this book of rare and refreshing insight.
1 Introduction THOMAS MERTON always wondered at any goodness and value nurtured in a middle - class culture . When faced with his admiration for Therese of Lisieux , for example , he was " astonished " to find a saint " in the midst of ...
This is so even though our perception of time has been greatly modified by the same technology which both interrupts and allows for the rearrangement of our experience of time at a rate and a level of ease which, until recently, had never ...
R. Taylor). London: British Film Institute. —. 1949. Film Form. New York: Harcourt, Brace and World. Eliade, Mircea. 1957. The Sacred and the Profane: The Nature of Religion. San Diego, New York, London: A Harvest Book, Harcourt Brace ...
Lucy Bolton compares these recent works with well-known and influential films that offer more familiar treatments of female subjectivity: Klute (1971), The Seven Year Itch (1955) and Marnie (1964).
Right now I'm catching some painting fish. And some music fish. I haven't caught the next film fish yet. I just try to catch ideas—and sometimes I fall in love with one and then I know what I want to do. It has nothing to do with money; ...
Regarding this background, this volume brings together the best papers from the Lisbon Conference on Philosophy and Film: Thinking Reality and Time through Film, held in 2014.