Sarienne Kersh

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074 721 5326

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]
> > 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)
> > ***
> > ***
> > ***
> > ***
> > ***
> > **********************************************************************
>
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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/
> --