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If you can find it Walking to Werner (2006 <http://www.imdb.com/year/2006/?ref_=tt_ov_inf> ) by Linas Phillips <http://www.imdb.com/name/nm1060510/?ref_=tt_ov_dr> is a tiny independent documentary – no camera crew, where the filmmaker films himself handheld as he walks, as well as those he meets. It’s fascinating. Sarienne Kersh [log in to unmask] 074 721 5326 From: Film-Philosophy [mailto:[log in to unmask]] On Behalf Of Maria Victoria Gomez Vila Sent: 23 May 2014 07:34 AM To: [log in to unmask] Subject: Re: [FILM-PHILOSOPHY] FILM-PHILOSOPHY Digest - 18 May 2014 to 22 May 2014 - Special issue (#2014-46) How about Inception ? Specially when the two characters are walking through a somewhat made-up Paris inside a dream. > Date: Fri, 23 May 2014 01:51:37 +0100 > From: [log in to unmask] > Subject: Re: [FILM-PHILOSOPHY] FILM-PHILOSOPHY Digest - 18 May 2014 to 22 May 2014 - Special issue (#2014-46) > To: [log in to unmask] > > Re: walking > > Opening of Paris Texas? > > Sent from my iPhone > > On 22 May 2014, at 22:06, "FILM-PHILOSOPHY automatic digest system" <[log in to unmask] <mailto:[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 > > > > -- > > 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: 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 | > > > > > > ________________________________ > > > > -- > > 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) > > *** > > *** > > *** > > *** > > *** > > ********************************************************************** > > -- > 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/ > -- -- 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/ -- --- This email is free from viruses and malware because avast! 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