Film-Philosophy

ISSN: 1466-4615

13 found

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  1.  1
    Matilda Mroz (2020). Framing the Holocaust in Polish Aftermath Cinema: Posthumous Materiality and Unwanted Knowledge.Emily-Rose Baker - 2024 - Film-Philosophy 28 (1):131-135.
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  2. Padraic Killeen (2022). The Dark Interval: Film Noir, Iconography, and Affect.William B. Covey - 2024 - Film-Philosophy 28 (1):140-143.
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  3.  15
    An Ambiguous World of Film: Cinematic Immersion beyond Early Heidegger.Ludo de Roo - 2024 - Film-Philosophy 28 (1):11-30.
    Shawn Loht's ground-breaking Phenomenology of Film: A Heideggerian Account of the Film Experience (2017) offers a detailed account of film experience as rooted in Martin Heidegger's existential structure of Dasein. Adapting Being and Time for a phenomenology of cinematic experience, Loht accurately describes how various existential structures of Dasein are “fostered” by the projected world of film: in Loht's account, being-in-the-world is extended in the film experience. Loht's project offers fertile ground for developing the phenomenological basis of film experience. Yet, (...)
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  4.  2
    Kelli Fuery (2022). Ambiguous Cinema: From Simone de Beauvoir to Feminist Film Phenomenology.Kate Ince - 2024 - Film-Philosophy 28 (1):136-139.
  5.  16
    Response to Critical Views of Phenomenology of Film.Shawn Loht - 2024 - Film-Philosophy 28 (1):113-130.
    This article responds to critical views of John Rhym, Martin Rossouw, Ludo de Roo, and Annie Sandrussi on my 2017 book Phenomenology of Film: A Heideggerian Account of the Film Experience. The article also takes up positive footholds from the analyses of Chiara Quaranta and Jason Wirth. The main topics addressed include Martin Heidegger’s ontic-ontological distinction; the notion of film-as-philosophy; being-in-the-world read as being-in-the-film-world; and questions surrounding the facticity and identity of the film viewer.
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  6.  2
    In the Mood for Heideggerian Boredom? Film Viewership as Being-in-the-World.Chiara Quaranta - 2024 - Film-Philosophy 28 (1):31-46.
    In this article, I engage with Shawn Loht’s argument concerning film viewing as being-in-the-world, developed in his book Phenomenology of Film: A Heideggerian Account of the Film Experience (2017), focusing on the aesthetics of mood with particular attention to boredom. I elaborate on a phenomenological ontology of the film experience and its perceptual “rules” which hinge on aesthetic choices: what kind of world does the film open up for the viewer? Loht’s account of viewing Dasein enables us to deepen phenomenological (...)
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  7.  3
    Cinematic Rehearsals of Phenomenology: On the Ontic-Ontological Schema and Heideggerian Film Theory.John Rhym - 2024 - Film-Philosophy 28 (1):79-97.
    This article argues that the strengths and problems of Shawn Loht's Phenomenology of Film: A Heideggerian Account of the Film Experience (2017) are rooted in its method, which derives from a specific interpretation of Heidegger's existential analytic and from the critical strategy implemented by Heidegger – and thus later adopted by his readers and applied to various disciplinary domains – in his polemical engagement with the history of philosophy. Central to this method is what I refer to as the ontic-ontological (...)
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  8.  1
    Reflexive Wonderings: Prospects and Parameters of a Heideggerian Approach to Film as Philosophy.Martin P. Rossouw - 2024 - Film-Philosophy 28 (1):47-61.
    This response article addresses the conception of “film as philosophy” developed by Shawn Loht in his book Phenomenology of Film: A Heideggerian Account of the Film Experience (2017), with specific attention to the relevance and implications of Loht's approach for the broader debate beyond a strictly Heideggerian film-philosophy. The article proceeds in three distinct takes. The first take examines Loht's later-Heideggerian inspirations, arguing that although these more fundamental notions of philosophy open significant possibilities for film as philosophy, they nevertheless run (...)
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  9.  1
    Dasein and the Question of the Heterogenous Film Viewer: A Commentary on Loht’s Heideggerian Phenomenology of Film.Annie Sandrussi - 2024 - Film-Philosophy 28 (1):62-78.
    In response to Shawn Loht’s 2017 project delineating a Heideggerian phenomenology of film, Phenomenology of Film: A Heideggerian Account of the Film Experience, I examine how productive Loht’s Dasein-centric account of the film viewer might be for considering diverse film-viewer experiences. Starting from Loht’s premise that the film–viewer relation is the constitutive ground of filmic disclosure, I raise two concerns regarding Heidegger’s account of Dasein that might obscure an account of the diversity of film viewers and associated heterogeneity of filmic (...)
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  10.  15
    Introduction: Heidegger and the Phenomenology of Film.Robert Sinnerbrink - 2024 - Film-Philosophy 28 (1):1-10.
  11.  3
    Genevieve Yue (2021). Girl Head: Feminism and Film Materiality.Laura Staab - 2024 - Film-Philosophy 28 (1):148-151.
  12.  12
    A Mud Doctor Checking Out the Earth Underneath: Ruminations on Malick’s Days of Heaven and Loht’s Phenomenology of Film.Jason M. Wirth - 2024 - Film-Philosophy 28 (1):98-112.
    This is a philosophical rumination on Shawn Loht’s important extension of “film as philosophy” into a Heideggerian phenomenological account of the philosophical response that cinema can engender. After considering the importance of these kinds of approaches, I turn to Loht’s phenomenological engagement with Terrence Malick’s early masterpiece, Days of Heaven (1978). After sympathetically reviewing his “interpretation”, I expand upon its delineation of “earth and world” to include the “fallenness” of the world as well as the possibility of a metanōetic awakening (...)
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  13. Eugenie Brinkema (2022). Life-Destroying Diagrams.Archie Wolfman - 2024 - Film-Philosophy 28 (1):144-147.
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