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[Some members apparently did not receive this post.] Date: Wed, 03 Nov 1999 Subject: film-philosophy From: Birgit Berndt <[log in to unmask]> Thank you for your answers on my question. I noticed that I have to be more precise when putting a question. I don't doubt that there is a strong connection between film and philosophy. What I had in mind, was to discuss the way one can handle film-theory (specially when it's written by a philosopher) as a film-student. I'm sure that thinking about a specific film or interpretating it leads one to thoughts dealing with life in general, which is also the field of philosophy. And of course, depending on the kind of film, thinking while watching a film has to do with philosophical thoughts. But what interests me at the moment is to get from a philosophical (or theoretical) definition of a perspectiv on film to a form of analysis (with "perspectiv" I mean for example: Deleuze = defining a camera-angle as a percept, or Pasolini = seeing the style of a film (if it has any) as a second film (the one of the author) in relation to the one of the figur, or Bazin = looking out for the relation between duration and reality in film). Often these theorists offer no method to analysis. I was just wondering what kind of attempts there might be to enrich the understanding of a film (specially a contemporary film) by getting from theory (or philosophy) to analysing a film. And I agree that as a film-student one shouldn't take Deleuze or Barthes too literary. Birgit %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%