Beyond Internalism and Externalism: Husserl and Sartre's Image Consciousness in Hitchcock and. Buñuel
Film-Philosophy 14 (1):174-201 (2010)
Husserl and Sartre’s analyses of mental imagery and some of the latest cognitive research on vision provide a framework for understanding a number of films by Hitchcock (Psycho and Rear Window) and Buñuel (Un Chien Andalou), films which similarly probe the subtleties and uses of mental imagery. One of the many ways to enjoy these films is to see them as explorations of visual phenomenology; they allow us to enact, as well as reflect upon, mental images as part of the film experience.
|Keywords||phenomenology visual perception film consciousness aesthetics philosophy of mind|
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Evan Thompson (2008). Representationalism and the Phenomenology of Mental Imagery. Synthese 160 (3):203--213.
Stephen Priest (2000). The Subject in Question: Sartre's Critique of Husserl in the Transcendence of the Ego. Routledge.
Philip Blosser (1986). The Status of Mental Images in Sartre's Theory of Consciousness. Southern Journal of Philosophy 24 (2):163-172.
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Roland Breeur (2001). Bergson's and Sartre's Account of the Self in Relation to the Transcendental Ego. International Journal of Philosophical Studies 9 (2):177 – 198.
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University of Auckland
Perhaps we could begin with Hitchcock and Husserl/Sartre?