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  1.  11
    Le plan subjectif réversible: Sur le point de vue au cinéma à partir des écrits de Merleau-Ponty.Anna Caterina Dalmasso - 2016 - Studia Phaenomenologica 16:135-162.
    When I am watching a movie, I perceive on the screen a space, which is united and lived, even if it appears as fragmented and separated from the world in which I live. But is the space of the cinematic frame equivalent or commensurable with the one I see through my own eyes? Are they opposed to each other or do they merge together? The most amazing example of the possible convergence of gaze and frame the film realizes is the (...)
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  2.  9
    Chōra in Heidegger and Nishida.John W. M. Krummel - 2016 - Studia Phaenomenologica 16:489-518.
    In this article I discuss how the Greek concept of chōra inspired both Martin Heidegger and Nishida Kitarō. Not only was Plato’s concept an important source, but we can also draw connections to the pre-Platonic understanding of the term as well. I argue that chōra in general entails concretion-cum-indetermination, a space that implaces human existence into its environment and clears room for the presencing-absencing of beings. One aim is to convince Nishida scholars of the significance of chōra in Nishida’s thought (...)
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  3.  4
    Roman Ingarden Et le Cinéma.Olivier Malherbe - 2016 - Studia Phaenomenologica 16:185-214.
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  4.  3
    Cinematic Signs and the Phenomenology of Time.Corry Shores - 2016 - Studia Phaenomenologica 16:343-372.
  5.  10
    Haunted Phenomenology and Synesthetic Cinema.Jennifer M. Barker - 2016 - Studia Phaenomenologica 16:373-408.
    By now it goes without saying that cinema is and has always been a synesthetic experience. But what exactly do we mean when we say that? The paper develops a phenomenology of “cinematic synesthesia” that draws upon three recent developments: first, the neuroscientific “neonatal synesthesia hypothesis”; second, Maurice Merleau-Ponty’s lectures on child psychology and translator Talia Welsh’s contextualization of that work within recent developmental psychology; and third, Dylan Trigg’s concept of a “darkened phenomenology” that accounts for the radically “unhuman.” These (...)
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  6.  3
    The Mutation of Our Relations with Screens as a Mutation of Our Relations with Being.Mauro Carbone - 2016 - Studia Phaenomenologica 16:325-342.
    Traces of Maurice Merleau-Ponty’s constant philosophical interest in cinema have been multiplying since the mid-1990s. These traces lead us to understand that such an interest was implicitly linked to the effort of ontologically rehabilitating the screen understood as the condition of possibility of our vision. Therefore I believe that the late Merleau-Ponty was trying to elaborate a conception of our way of seeing that can no longer be shaped on the representative window model, but rather on the screen model. In (...)
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  7.  11
    Circulus Vitiosus Deus: Merleau-Ponty’s Ontology of Ontology.Frank Chouraqui - 2016 - Studia Phaenomenologica 16:469-487.
    This essay attempts to provide a unified analysis of two working notes from The Visible and the Invisible. In these notes Merleau-Ponty questions not only the accuracy of the ontology he is elaborating, but also the incidence and place of this ontology within the Being it describes. He finds that his ontology transforms Being as it describes it, and therefore keeps chasing its tail endlessly. This view is suggested by Merleau-Ponty’s use of Nietzsche’s expression “circulus vitiosus Deus” as a formula (...)
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  8.  4
    Kraft der Dinge. Phänomenologische Skizzen.Mădălina Diaconu - 2016 - Studia Phaenomenologica 16:591-594.
  9.  4
    Editor’s Introduction: What is Film Phenomenology?Christian Ferencz-Flatz & Julian Hanich - 2016 - Studia Phaenomenologica 16:11-61.
  10.  4
    Making Sense of Heidegger: A Paradigm Shift.Lucian Ionel - 2016 - Studia Phaenomenologica 16:594-598.
  11.  3
    Das Affektive Als Welt- Und Fremderfahrung: Zur Einheit Radikal Phänomenologischer Wirklichkeit Als Lebensimmanenz.Rolf Kühn - 2016 - Studia Phaenomenologica 16:519-550.
    The paper attempts to propound a new understanding of the experience of the world and others on the basis of a radical phenomenology of the body, as it is revealed in the originary impressibility as affect and desire. This impressibility shapes every relation to beings and others due to the unity of an originary life that founds individuation before any temporal difference, having ethical consequences for a plural communality, which can no longer be characterized by means of mere abstract processes (...)
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  12.  8
    Naissance Mystique Et Divinisation Chez Maître Eckhart Et Michel Henry.Rolf Kühn - 2016 - Studia Phaenomenologica 16:598-602.
  13.  7
    Affectivité Et Imaginaire Chez Merleau-Ponty: Nouvelles Lectures.Christopher Lapierre - 2016 - Studia Phaenomenologica 16:551-588.
    The objective of this paper is to show that the specific meaning of “affectivity” in Merleau-Ponty’s works can be better understood by approaching its connection with the notion of “imagination”. This strategy can be contrasted with Sartre’s approach; his specific conception of consciousness locks off the relation between imagination and affectivity from the start. On the contrary, the free play of this axis, which can be analysed since the early Phenomenology of Perception, allows for the overflowing of the horizon of (...)
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  14.  15
    Aesthetics and the Embodied Mind: Beyond Art Theory and the Cartesian Mind–Body Dichotomy.Ştefan-Sebastian Maftei - 2016 - Studia Phaenomenologica 16:602-607.
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  15.  2
    Roman Ingarden Et le Cinéma: Entre Visibilité Et Musicalité.Olivier Malherbe - 2016 - Studia Phaenomenologica 16:185-214.
    In the vast field of Roman Ingarden’s ontology, film seems to occupy very little space. Indeed, Ingarden dedicated only two short texts to it. This paper aims at reconstructing Ingarden’s theory of film by expanding on the intuitions and sketches presented in those texts, using Ingarden’s general inquiries on aesthetics and specific inquiries on various forms of art The paper first focuses on the mode of being of film, trying to elaborate the distinctions made by Ingarden between physical foundation, work (...)
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  16.  6
    Le Problème de L’Identification Filmique Reconsidéré.Jean-Pierre Meunier - 2016 - Studia Phaenomenologica 16:241-268.
    This article reconsiders some of the arguments that I made in my two phenomenology-inspired books on what I have called the “filmic identification” in the cinema: Les structures de l’expérience filmique and Essai sur l’image et la communication. While the former has received some attention in film studies via Vivian Sobchack’s mediating work in her influential essay “Toward a Phenomenology of Nonfictional Film Experience”, the latter is little known in film studies and phenomenological circles. The two guest editors have therefore (...)
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  17.  4
    Husserl and Cinematographic Depictive Images: The Conflict Between the Actor and the Character.Regina-Nino Mion - 2016 - Studia Phaenomenologica 16:269-293.
    According to John Brough, we can use Husserl’s theory of image consciousness to explain the conflict between the actor and the character in cinematographic depictions in terms of an empirical conflict between the “image object” and the “physical thing.” I disagree with him and I shall show that the conflict between the actor and the character can only be explained in terms of a non-empirical conflict between two “image subjects.” The empirical conflict that concerns the subject is between how the (...)
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  18.  8
    The Cinematic Point of View: Thinking Film with Merleau-Ponty.Orna Raviv - 2016 - Studia Phaenomenologica 16:163-183.
    Previously unpublished fragments of Merleau-Ponty’s insights about cinema have added an important layer to our understanding of the medium. In this paper I examine these fragments along with some of Merleau-Ponty’s other observations about cinema, in the context of his work on perception and temporality. My aim is to show how his thought is relevant for understanding an important topic in film theory: cinematic point of view. With Merleau-Ponty’s phenomenological articulation of what it is to see, the possibility opens up (...)
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  19.  7
    Ontologie du Mouvement, Peinture Et Cinéma Chez Merleau-Ponty.Pierre Rodrigo - 2016 - Studia Phaenomenologica 16:111-133.
    The present paper investigates the late ontology of Maurice Merleau-Ponty, which considers being as expressive movement. The paper takes as its point of departure Merleau-Ponty’s reflections on painting, sculpture and especially cinema. Two reasons justify this choice. On the one hand, Merleau-Ponty’s reflections on film as a work of art are now starting to be better known, after they have been overshadowed by his writings on painting, sculpture or literature for a long time. This entails a considerable enrichment of our (...)
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  20.  11
    Cinema Consciousness: Elements of a Husserlian Approach to Film Image.Claudio Rozzoni - 2016 - Studia Phaenomenologica 16:295-324.
    By drawing on Husserl’s manuscripts on Phantasy, Image Consciousness and Memory, this paper aims to shed light on some of the primary concepts defining his notion of image—such as “belief,” “presentification” and perzeptive Phantasie—and endeavours to show how such concepts could be profitably developed for the sake of a phenomenological description of film image. More in particular, these analyses aim to give a phenomenological account of the distinction between positing film images, presupposing a claim to reality—for example the ones we (...)
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  21.  4
    Phenomenological Film Theory and Max Scheler’s Personalist Aesthetics.Matthew Rukgaber - 2016 - Studia Phaenomenologica 16:215-240.
    Max Scheler never published a theory of art, but his aesthetics, like the rest of his thought, occupies an intriguing position that links early phenomenology, Catholic personalist thought, and philosophical anthropology. His metaphysics of the person and theory of value, when combined with his account of the lived-body and of our access to other minds through love, translates into a powerful, humanistic theory of art. This article elaborates what Scheler’s aesthetics would look like had he developed it and applied it (...)
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  22.  4
    Kamera Und Leib: Film in Statu Nascendi.Hans Rainer Sepp - 2016 - Studia Phaenomenologica 16:91-109.
    The central thesis of this article is that film is directing and directed kinaesthesis understood as an opening of world beyond the relation of “subjective” and “objective”. Thus the analysis does not focus on the recipients of a movie but on the origins filming finds in specific ways of experiencing, that is, in the living bodies of the persons who decide on the perspective of a take by using the camera’s body. Moved by its filmmakers, the body of the camera (...)
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  23.  9
    How It Feels: Black Screen as Negative Event in Early Cinema and 9/11 Films.Tanya Shilina-Conte - 2016 - Studia Phaenomenologica 16:409-438.
    In this essay I engage the perspective of film phenomenology to analyze the black screen as a frame-breaking negative experience, based on an understanding of cinema as event. Relying on Vivian Sobchack’s phenomenological approach and taking inspiration from Cecil M. Hepworth’s How It Feels to Be Run Over, a case in point for a method predicated on the question of “how,” I place emphasis on the “film’s body” and consciousness which, through its own paralysis and impairment, affects the spectator’s lived-body. (...)
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  24.  6
    Cinematic Signs and the Phenomenology of Time: Deleuze and the Visual Experience of Temporal Depth.Corry Shores - 2016 - Studia Phaenomenologica 16:343-372.
    By means of Vivian Sobchack’s semiotic film phenomenology, we may examine our immediate perceptual acts in film experience in order to determine the ways that the primordial language of embodied existence found at this primary level grounds the secondary level of the more explicit interpretations we give to the film’s elements. Although Gilles Deleuze is openly defiant toward the phenomenological tradition, his studies of film experience can serve this purpose as well, because he is interested in the direct and pre-verbal (...)
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  25.  20
    “The Active Eye” : Toward a Phenomenology of Cinematic Movement.Vivian Sobchack - 2016 - Studia Phaenomenologica 16:63-90.
    The foundational basis of the cinematic moving image is camera movement, which occurs not only in the image but also, and from the first, as the image. This essay approaches off-screen camera movement through phenomenological description of the gestalt structure of its four interrelated onscreen forms: the moving image as an intentional and composite “viewing view/viewed view”; the moving image as “qualified” by optical camera movement through subjective modes of spatiotemporal transcendence; the movement of subjects and objects in the moving (...)
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  26.  3
    Experiential Realism and Motion Pictures: A Neurophenomenological Approach.Jane Stadler - 2016 - Studia Phaenomenologica 16:439-465.
    This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new insights (...)
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