Re: walking
Opening of Paris Texas?
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On 22 May 2014, at 22:06, "FILM-PHILOSOPHY automatic digest system" <[log in to unmask]
> wrote:
> There are 3 messages totaling 1077 lines in this issue.
>
> Topics in this special issue:
>
> 1. FILM-PHILOSOPHY Digest
> 2. Jean-Luc Godard's Philosophy of the Moving Image
> 3. Films about walking
>
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> Film-Philosophy Conference 2014 (University of Glasgow 2-4 July): http://www.film-philosophy.com/conference/
> --
>
> ----------------------------------------------------------------------
>
> Date: Tue, 20 May 2014 03:30:11 -0700
> From: Julian Hanich <[log in to unmask]>
> Subject: FILM-PHILOSOPHY Digest
>
>
>
> Call for Papers: Studia Phaenomenologica
> Special
> Issue: Film and Phenomenology, Vol. XVI (2016)
>
>
> Guest Editors: Christian Ferencz-Flatz and
> Julian Hanich
>
> The 2016 issue of Studia Phaenomenologica will interrogate
> the relationship of phenomenology and film.
>
> When it comes to associating
> film and philosophy, no other analogy is as persistent as the
> equation of film
> and phenomenology (except perhaps the cliché of comparing film audie
> nces to the
> people in Plato’s cave). The film-phenomenology analogy is already f
> oreshadowed
> by Husserl’s letter to Hugo von Hofmannsthal from 1907, in which he
> compares
> the phenomeno-logical method to aesthetic experience. It is
> explicitly sketched
> out in Merleau-Ponty’s lecture “The Film and the New
> Psychology” from 1945 and
> it is then picked up by numerous authors like Bazin, Ayfre and others.
> According to this analogy, film and phenomenology both share a
> similar view of
> perception as a temporal process, they both regard man as a being
> situated in
> the world, they both operate the same reduction of positional belief
> and they
> both hold the same affinity towards intuitive description.
>
> Apart from that, film has from
> the onset attracted the attention of phenomenologists – not only as
> an
> inevitable addendum to traditional aesthetics (Ingarden, Dufrenne),
> but first
> of all as a specific problem for a philosophy of perception. Husserl
> himself
> mentions the topic in several of his manuscript notations from the
> 1920s, where
> he considers film as a special case of “image consciousness”, a
> fundamental
> modification of perception. Similarly, in contempo-rary image theory
> the
> phenomenological approach to images in general is most often
> associat-ed with a
> theory of perception. But the experience of film obviously implies
> more than
> just a question of image perception. When Benjamin claims film to
> determine the
> discovery of “a new region of consciousness” or when Deleuze
> coins the idea of
> a “film consciousness”, they both think of film – without
> actually looking at
> film phenomenologically – in terms that make it appear central for
> phenomenology itself. For film does indeed constitute an
> experiential regime
> wherein our bodily, temporal, spatial, emotional, intersubjective,
> worldly and
> situa-tional experiences suffer a technically and historically
> conditioned modification
> that phenom-enology can and should not ignore and to which this
> special issue
> of Studia Phaenomenologi-ca is therefore dedicated.
>
> In film studies
> phenomenological examinations have a deep grounding, ranging from
> the work of
> Jean Mitry and Amédée Ayfre to the writings of Jean-Pierre Meunier a
> nd the
> early Christian Metz. But after this flourishing in the 1960s,
> interest in film
> phenomenology dis-appeared for a long time and one was forced to
> speak of a
> “neglected tradition of phenome-nology in film theory” (Dudley
> Andrew).
> Following the publication of Vivian Sobchack’s groundbreaking book T
> he Address of the Eye. A Phenomenology of Film Experience (1992), th
> e picture has changed. Phenomenology has again become a vital field
> in film studies. The important work of Allan Casebier, Laura Marks,
> Jennifer
> Barker, Jane Stadler, Malin Wahl-berg, Daniel Frampton (to name but
> a few),
> underlines the growing interest in a phenomeno-logical approach to
> the medium
> of film.
>
> However, film phenomenology
> has still a number of blind spots that we would like to start
> filling in this
> special issue. For instance, phenomenological work has so far mostly
> fo-cused
> on the film experience, thereby neglecting the concrete reception
> surroundings
> of the viewer’s encounter with the filmic object. Since the interrel
> ation of
> viewer and film is often not confined to an individual engagement
> and never
> takes place in a spatial vacuum, phenom-enological descriptions
> should take
> into account the other recipients as well as the specific viewing
> conditions.
> How we experience a film depends on where we experience it, with
> whom as
> co-viewer and presented by what medium. Moreover, film
> phenomenologists have
> rarely devoted close attention to film style. Thus the way specific
> filmic
> strategies relate to specific film experiences remains an open
> question. Since
> phenomenology focuses on experi-ence, it is naturally more inclined
> toward the
> aesthetic recipient than the aesthetic object. But if we take into
> account that
> filmmakers deliberately aim to produce certain experiences, how can
> we best
> describe the experience of the filmmakers’ various stylistic and for
> mal
> strategies? These are only a few of the questions film phenomenology
> should
> take into account.
>
> We therefore seek
> contributions to our special issue. Submitted articles may focus on
> but are
> certainly not limited to the following topics:
>
> Theoretical
> Questions
> • the significance of phenomenology for film studies: what advantage
> s does the
> phenomeno-logical method have over other approaches like
> cognitivism, Deleuzian
> theory, neuro-cinematics? And where are the limitations of
> phenomenology?
> • expanding film phenomenology: what are roads
> not taken so far and should be followed in the future, thereby
> enriching the
> scope of film phenomenological inquiries?
> • the significance of film for phenomenology:
> what is the exact philosophical significance of film for
> phenomenology? Is the
> case of film and film experience exemplary in any way for the
> traditional core
> topics of phenomenology?
>
> Detailed
> Descriptions
> • the experience of various types of cinema and other moving-image d
> ispositifs
> (e.g., the IMAX, the drive-in theater, the museum and gallery space,
> watching
> film on an airplane)
> • the experience of various cinematic affects, emotions and moods (e
> .g., the
> kinesthetic empa-thy in comedies or sports films, feeling moved or
> elevated by
> a melodrama)
> • the experience of collectivity in the cinema and other venues with
> a
> co-present audience
> • the interplay of viewer activity and passivity in film experience
> • questions related to audio-vision and synaesthesia in film experie
> nce
>
> Historical
> Inquiries
> • contributions concerning the tradition of phenomenology in film st
> udies: how
> do we assess the work of Mitry, Meunier, Sobchack and others from
> today’s
> perspective?
> • historical revaluations of the interest towards film in phenomenol
> ogy: how to
> judge the po-sition of Husserl, Ingarden, Merleau-Ponty and others
> toward film
> nowadays?
>
> Submissions in English, French, and German will
> be accepted, and should comply with the following guidelines: http://www.studia-phaenomenologica.com/?page=submit
>
> Deadline for
> submissions is 1 July, 2015.
>
> The papers should be sent to: [log in to unmask]
>
>
> __ ___________
> |Dr. Julian Hanich |
> | Assistant Professor of Film Studies |
> | Arts, Culture and Media |
> | University of Groningen |
> | www.julianhanich.de || www.facebook.com/groningenfilmstudies |
>
>
> ________________________________
>
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> To manage your subscription or unsubscribe from the Film-Philosophy
> list, please visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> --
> Film-Philosophy Journal: http://www.film-philosophy.com/
> Film-Philosophy Conference 2014 (University of Glasgow 2-4 July): http://www.film-philosophy.com/conference/
>
> ------------------------------
>
> Date: Wed, 21 May 2014 20:37:36 +0100
> From: Marina Uzunova <[log in to unmask]>
> Subject: Jean-Luc Godard's Philosophy of the Moving Image
>
> In 1978, a small Montreal audience witnessed Jean-Luc
> Godard improvise a lucid and provocative philosophy and history of
> the moving image.
> Over the course of fourteen talks accompanied by 35mm films screened
> in
> juxtaposed fragments – anticipating the method of his video essay Hi
> stoire(s) du cinéma – Godard set out
> the guiding principles of an original history of cinema he proposed
> to ‘make’
> in images. Paradoxically, perhaps, the written record of these
> talks, now
> available for the first time in English in a complete re-
> transcription quite
> unlike the original French edition, is every bit as compelling as
> the later
> videos.
>
> The Montreal film scholar Timothy Barnard has spent
> seven years preparing this new edition in English, correcting
> thousands of
> errors and omissions in the French and foreign-language editions. It
> includes 150,000
> words from Godard’s talks, including his discussions with his interl
> ocutors,
> which were excised from all previous French editions and
> translations; a
> 20,000-word essay by film scholar Michael Witt on Godard as film
> historian and
> the genesis of his film history project; a 20-page collage
> prospectus in Godard’s
> hand for the video series; and 60 full-page illustrations – film sti
> lls
> manipulated by Godard for the original French edition and seen here
> in their
> full high-contrast glory unlike those found in any other edition
> thanks to a
> special printing process.
>
> Introduction
> to a True History of Cinema and Televisionhas
> just been published by Montreal publisher caboose in a handsome,
> affordable
> edition numbering 560 pages. A sample chapter of the new translation
> can be
> read on the publisher’s web site.
>
> caboose is also giving away with each on-line
> purchase a volume in its new series of essays, Kino-Agora. Five
> titles are now
> in print: The Kinematic Turn: Film in the Digital Era and its Ten
> Problems by André Gaudreault and Philippe Marion; Dead and Alive: Th
> e Body as Cinematic Thing by Lesley Stern; Montage by Jacques
> Aumont; Mise en Jeu and Mise en Geste by Sergei Eisenstein; and The
> Life of the
> Author by Sarah Kozloff. Additional volumes from the series may be
> purchased for $5 ($8 for the Eisenstein). The first half of Timothy
> Barnard’s
> work in progress volume in the Kino-Agora series, on cinematic décou
> page, can be read free of charge on
> the caboose web site.
>
> www.caboosebooks.net
>
> --
> To manage your subscription or unsubscribe from the Film-Philosophy
> list, please visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> --
> Film-Philosophy Journal: http://www.film-philosophy.com/
> Film-Philosophy Conference 2014 (University of Glasgow 2-4 July): http://www.film-philosophy.com/conference/
>
> ------------------------------
>
> Date: Thu, 22 May 2014 21:04:07 +0000
> From: Thomas Deane Tucker <[log in to unmask]>
> Subject: Films about walking
>
>
>
> Dear Film-Philosophers,
> I am teaching a course in the fall on the philosophy, literature,
> and cultural representations of walking. I am looking for films
> where walking plays a central role to either show in the class or to
> reference. So far my list includes The Way, Wizard of Oz, Walkabout,
> Meek’s Cutoff, Walking (Canadian short), and the Way Back. Can anyon
> e help add to my list?
> Thanks in advance.
> Best,
> Thomas Deane Tucker
>
>
>
>
>
> --
> To manage your subscription or unsubscribe from the Film-Philosophy
> list, please visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> --
> Film-Philosophy Journal: http://www.film-philosophy.com/
> Film-Philosophy Conference 2014 (University of Glasgow 2-4 July): http://www.film-philosophy.com/conference/
> --
>
> ------------------------------
>
> End of FILM-PHILOSOPHY Digest - 18 May 2014 to 22 May 2014 - Special
> issue (#2014-46)
> ***
> ***
> ***
> ***
> ***
> **********************************************************************
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