Since the early 1990s, phenomenology and cognitivism have become two of the most influential approaches to film theory. Yet far from being at odds with each other, both approaches offer important insights on our subjective experience of cinema. Emotions, Ethics, and Cinematic Experience explores how these two approaches might work together to create a philosophy of film that is both descriptively rich and theoretically productive by addressing the key relationship between cinematic experience, emotions, and ethics.

This chapter critically examines the idea that some cinematic artworks “do philosophy”. It is argued that any interesting “film as philosophy” thesis must satisfy two conditions: (FP1) In any advance in philosophical understanding attributable to a cinematic artwork, the philosophical content through which such an advance is accomplished must be articulated in a manner that is distinctively cinematic, on a proper understanding of the latter; (FP2) The advance in philosophical understanding attributable to a cinematic artwork must (...) occur in the course of our experiential engagement with that work, rather than in some distinct philosophical activity to which that engagement provides an extractable input. These conditions, it is argued, are not satisfied by the kinds of examples of ‘film as philosophy’ – cinematic ‘thought experiments’ – most often cited by philosophers. While (FP2) might be satisfied given a particular model of learning from thought experiments, (FP1) remains problematic. A second more elusive possibility is that philosophical understanding is advanced through affective qualities of the experiences cinematically elicited in receivers of a narrative film. After examining how cinematic affect is generated and the kind of philosophical work that such affect might do, Robert Sinnerbrink’s notion of “cinematic thinking” is critically assessed and tested against some relevant examples. (shrink)

Jean Mitry _The Aesthetics and Psychology of the Cinema_ Translated by Christopher King London: Athlone Press, 1998 ISBN: 0-485-30084-2 403 pp.

How do movies evoke and express ethical ideas? What role does our emotional involvement play in this process? What makes the aesthetic power of cinema ethically significant? Cinematic Ethics: _Exploring Ethical Experience through Film_ addresses these questions by examining the idea of cinema as a medium of ethical experience with the power to provoke emotional understanding and philosophical thinking. In a clear and engaging style, Robert Sinnerbrink examines the key philosophical approaches to ethics in contemporary film theory (...) and philosophy using detailed case studies of cinematic ethics across different genres, styles, and filmic traditions. Written in a lucid and lively style that will engage both specialist and non-specialist readers, this book is ideal for use in the academic study of philosophy and film. Key features include annotated suggestions for further reading at the end of each chapter and a filmography of movies useful for teaching and researching cinematic ethics. (shrink)

The purpose of this paper is to re-examine the debate about cinematic motion in terms of the necessity for reception conditions in art. I shall argue that Gregory Currie’s rejection of weak illusionism – the view that cinematic motion is illusory – is sound, because cinematic images really move, albeit in a response-dependent rather than garden-variety manner. In §1 I present Andrew Kania’s rigorous and compelling critique of Currie’s realism. I assess Trevor Ponech’s response to Kania in (...) §2, and show that his focus on the cinematic experience is indicative of the direction the debate should take. §3 demonstrates that the issue is underpinned by the question of the role of reception conditions in the experience of art. In §4 I apply my observations on reception conditions to the problem of cinematic motion and conclude that Kania’s objections are unsuccessful due to his failure to acknowledge the necessary conditions for cinematic experience. (shrink)

This essay offers a critical rejoinder to affect theories prevalent in the humanities since the 1990s. In film and media studies, affect theories display an opposition to ‘screen’ and apparatus theory of the 1970s and 1980s alleged to have marginalised the spectator's body and affects and privileged cognition over affection. Yet film and media studies’ turn to affect came with its own set of problems: in emphasising the affective over the cognitive aspects of cinematic experience, theories of the (...) affective turn invert and reproduce the dichotomies they seek to contest. Critically reconsidering the turn to affect and its place within film and media studies, this article challenges the relation of affect theories to Gilles Deleuze's concept of affect, highlighting these theories’ failure to account for Deleuze's indebtedness to Immanuel Kant's aesthetics and his theory of the faculties. Suggesting a conception of cinematic affect beyond dichotomies of body and mind, affect and thought, this essay instead shows how cinematic experience instigates transformations in spectators that are simultaneously affective and cognitive. (shrink)

The oft-undiscernible boundary between imaging and imagining is especially apparent in our cinematic experience. In Buddhist philosophy, imaging and imagining are neither the same nor different, neither not the same nor not different. In this article, I argue that imaging in Buddhism refers not only to the formational process of an image out there, but also the external form's interdependent relationship with the internal forms. Likewise, imagining refers not only to the formational process of an image in here, (...) but also to how these imaginations constitute the body's relationship with the larger milieu out there. In the second half of this article, I analyse how the interdependent relationship between imaging and imagining is configured textually and in the overall cinematic experience in Bi Gan's Diqiu zuihou de yewan/ Long Day's Journey into Night. (shrink)

Film is the supreme medium for mythmaking. The gods and heroes of mythology are both larger than life and deeply human; they teach us about the world, and they tell us a good story. Similarly, our experience of film is both distant and intimate. Cinematic techniques--panning, tracking, zooming, and the other tools in the filmmaker's toolbox--create a world that is unlike reality and yet realistic at the same time. We are passive spectators, but we also have a personal (...) relationship with the images we are seeing. In Cinematic Mythmaking, Irving Singer explores the hidden and overt use of myth in various films and, in general, the philosophical elements of a film's meaning. Mythological themes, Singer writes, perform a crucial role in cinematic art and even philosophy itself. Singer incisively disentangles the strands of different myths in the films he discusses. He finds in Preston Sturges's The Lady Eve that Barbara Stanwyck's character is not just the biblical Eve but a liberated woman of our times; Eliza Doolittle in the filmed versions of Shaw's Pygmalion is not just a statue brought to life but instead a heroic woman who must survive her own dark night of the soul. The protagonist of William Wyler's The Heiress and Anieszka Holland's Washington Square is both suffering Dido and an awakened Amazon. Singer reads Cocteau's films--including La Belle et la Bête, Orphée, and The Testament of Orpheus--as uniquely mythological cinematic poetry. He compares Kubrickean and Homeric epics and analyzes in depth the self-referential mythmaking of Federico Fellini in many of his movies, including 8½. The aesthetic and probing inventiveness in film, Singer shows us, restores and revives for audiences in the twenty-first century myths of creation, of the questing hero, and of ideals--both secular and religious--that have had enormous significance throughout the human search for love and meaning in life. (shrink)

Podcasts have been described as “a cinema for the ears” and this application of a visual rhetoric to describe an audio-only experience results in an attempt to define what is still a relatively new medium. I argue that it is possible to consider something cinematic without the presence of moving images. Assertions in favour of the cinematic nature of podcasts often employ the visual imagination of listeners evoked by heightened audio characteristics that a particular podcast may possess. (...) By focusing on film-centred podcasts specifically, which, in terms of content and form, are implicitly and often explicitly concerned with properties of the cinematic, I argue for a more conceptual analysis of the idea of a visual form of audio. While many film-oriented podcasts provide a supplementary celebration of cinema culture rather than manifesting a unique cinematic experience of their own, there are examples of film-centred podcasts that attempt to actualise what I will call an “audio-cinematic” experience, deploying the creative potential of the podcast to manifest an experiential aura that evokes a cinematic imagination. I analyse the sonic dimensions of audio-cinematic podcasts including my work with Neil Fox on The Cinematologists Podcast. (shrink)

he enigmatic films of David Lynch have been interpreted from a variety of perspectives. Among these we can find Lynch the postmodernist ironist, Lynch the transgressive neoconservative, and Lynch the visionary explorer of the unconscious. Martha P. Nochimson's recent study, for example, presents an eloquent case for regarding Lynch as a Jungian 'surfer of the waves of the collective unconscious', whose films combine the intuitive embracing of subconscious Life Energy with a celebration of the creative power of Hollywood mythology. [1] (...) For Nochimson, Lynch's transformation of the masculine action hero into intuitive 'boundary crosser' shows the redemptive quality of his cinematic vision, which we experience sensuously rather than comprehend rationally. (shrink)

Film is the supreme medium for mythmaking. The gods and heroes of mythology are both larger than life and deeply human; they teach us about the world, and they tell us a good story. Similarly, our experience of film is both distant and intimate. Cinematic techniques--panning, tracking, zooming, and the other tools in the filmmaker's toolbox--create a world that is unlike reality and yet realistic at the same time. We are passive spectators, but we also have a personal (...) relationship with the images we are seeing. In Cinematic Mythmaking, Irving Singer explores the hidden and overt use of myth in various films and, in general, the philosophical elements of a film's meaning. Mythological themes, Singer writes, perform a crucial role in cinematic art and even philosophy itself. Singer incisively disentangles the strands of different myths in the films he discusses. He finds in Preston Sturges's The Lady Eve that Barbara Stanwyck's character is not just the biblical Eve but a liberated woman of our times; Eliza Doolittle in the filmed versions of Shaw's Pygmalion is not just a statue brought to life but instead a heroic woman who must survive her own dark night of the soul. The protagonist of William Wyler's The Heiress and Anieszka Holland's Washington Square is both suffering Dido and an awakened Amazon. Singer reads Cocteau's films--including La Belle et la Bête, Orphée, and The Testament of Orpheus--as uniquely mythological cinematic poetry. He compares Kubrickean and Homeric epics and analyzes in depth the self-referential mythmaking of Federico Fellini in many of his movies, including 8½. The aesthetic and probing inventiveness in film, Singer shows us, restores and revives for audiences in the twenty-first century myths of creation, of the questing hero, and of ideals--both secular and religious--that have had enormous significance throughout the human search for love and meaning in life. (shrink)

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, Loht anchors this account of film experience primarily in Heidegger's early philosophy; this leaves his adaptation not without challenges. First, if the structure of film experience is mapped too closely onto the notion of Dasein projecting itself into the filmworld, this theory presents the risk of taking the early Heidegger's “hands-on” approach too literally. Moreover, in its concern for Dasein's extensions into the world of film, Phenomenology of Film says little about the distinctly mediated character of filmworlds; this leaves ambiguous where the film experience effectively takes place. (shrink)

Given the so-called ?crisis? in film theory, the digital mutations of the medium, and the renewed interest in historicism, cinephilia, and film philosophy, André Bazin's thought appears ripe for retrieval and renewal. Indeed, his role in the renaissance of philosophical film theory, I argue, is less epistemological and ontological than moral and aesthetic. It is a quest to explore the revelatory possibilities of cinematic images; not only their power to reveal reality under a multiplicity of aspects but to satisfy (...) our desire for myth ? to allow an aesthetic overcoming of the limits of consciousness and memory. The question I wish to explore is whether cinema has the power to restore our belief in reality, in the worlds that film can reveal, in the experience that it can capture and transfigure. My case study for exploring this question, the question of belief in cinema or what we could call a Bazinian cinephilia, will be Terrence Malick's The Tree of Life (2011); a film whose sublime aesthetics and unorthodox religiosity has provoked polarised critical responses, but whose remarkable ambition is to create a mythology ? personal, historical, and cosmological ? capable of reanimating belief in cinema and in the world. (shrink)

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 significance of cinematic images. To bring his observations more fruitfully into film phenomenological studies, I will examine his notion of the discordantly operating body and offer a phenomenological interpretation for his notion of cinematic signs. I then apply this Deleuzian semiotic film phenomenology to his analysis of deep focus cinematography in Orson Welles’ Citizen Kane. When watching one particular scene, different layers of our film experience, namely, those of visual and of temporal depth, collide in such a way that they provide the phenomenal basis for us to produce a temporal interpretation of the spatial relations held between the displayed images. (shrink)

Hunter Vaughan interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles Deleuze's image-philosophy, Vaughan applies a rich theoretical framework to a comparative analysis of Jean-Luc Godard's films, which critique the audio-visual illusion of empirical observation (objectivity), and the cinema of Alain Resnais, in which the sound-image generates innovative portrayals of individual experience (subjectivity). Both filmmakers radically upend conventional film practices and challenge philosophical traditions to alter our (...) understanding of the self, the world, and the relationship between the two. Films discussed in detail include Godard's _Vivre sa vie_ (1962), _Contempt_ (1963), and _2 or 3 Things I Know About Her_ (1967); and Resnais's _Hiroshima, mon amour_ (1959), _Last Year at Marienbad_ (1961), and _The War Is Over_ (1966). Situating the formative works of these filmmakers within a broader philosophical context, Vaughan pioneers a phenomenological film semiotics linking two disparate methodologies to the mirrored achievements of two seemingly irreconcilable artists. (shrink)

This article builds upon concepts of simultaneity and coexistence offered by Bergson and Deleuze to explore new approaches to cinematic audibility. Recognised film theory terms such as synchronisation and synchresis approach sonic time from the transcendent distance of audioviewership. This essay moves cinematic experience inward to ask what is audible within the film world itself. Simultaneity and coexistence penetrate cinematic time to express a multiplicity of audible layers, threads or lines that occur in relation to image-events. (...) The essay both advances and critiques Bergson's and Deleuze's conceptions of time, making it relevant to both film studies and metaphysics. (shrink)

This paper aims at a semio-epistemological revisit of Peircean/Bazinian indexicality. On the level of diegesis, an image takes on indexicality as physical causality, the succession of causes and effects. What matters in our cinematic experience is then less medium-specificity than reference-recognition, i.e. whether or not we know what a visual sign refers to within diegesis. The problematic case is that in which an image is not a clear index to something visually given, but it appears and functions like (...) a “para-index” that only partially, impossibly indicates the unthinkable, a sort of “digit” that fingers what Lacan or Deleuze calls the absent but immanent Real or Virtual. In fact Bazin’s interest in adventure films facing this unrepresentable realm especially inspires us to revamp indexicality as para-indexicality. The paper elaborates on this notion through George Didi-Huberman and Jacques Rancière, as well as films by Michael Haneke, Ingrid Bergman, Jean-Luc Godard etc. (shrink)

A close analysis of the specifically cinematographic procedure in Akira Kurosawa’s ‘Dream’ Crows reveals it as an articulated and insightful philosophical statement, endowed with general relevance conceming ‘natural’ perception, phenomenological Erlebnis, mechanical image and aesthetic rapture. The antagonism between the Benjarninian lineage of a mechanical irreducibility of the cinematic image to anthropocentric categories, and the Cartesian tradition of a film-philosophy still relying on the equally irreducible structure of the intentional act, be it the one of a deeply embodied and (...) enworlded counsciousness, in accounting for the essential structure of film and spectator (and their relation), i.e., the antagonism between the decentering primacy of the image and the self-centered primacy of perception, cannot be settled through a simple Phenomenological shift from occularcentric, intentional counsciousness to its embodyment ‘ in-the-world’ as yet another carrier of intentionality. Still it remains to be explained what is it in the mechanical image that is able to so deeply affect the human flesh, and conversely, to what features in the human bodily experience is its mechanical other, the fascinating image, so successfuly adressing? It should be expected from the anti-Cartesianism of both the early and the late Merleau- Ponty the textual support for an approach to the essential condition of passivity in movie watching, that would be convergent with Benjamin. The Chapter ‘Le sentir’, in Phénoménologie de la perception, will offer us the proper guide to elucidate what we are already perceiving and conceiving in Kurosawa’s film, where the ex-static phenomenological body of the aesthetical contemplator ‘ enters the frame’ like the Benjaminian surgeon enters the body and like the painter - and always already like our deepest levei of ‘sensing’, previously to any act of cousciousness - ‘just looses himself in the scene before him’. The Polichinello secret of cinema watching is nonetheless too evident to be seen, and that is where Phenomenological description and reduction are still required. (shrink)

This paper asks questions about 'trauma' and its cultural representation specifically, trauma's representation in the cinema. In this respect, it compares and contrasts the work of Robert Bresson, in particular his 1967 masterpiece, Mouchette , with contemporary Hollywood film. James Mangold's 1999 'Oscar-winning' Girl, Interrupted offers an interesting example for cultural comparison. In both Mouchette and Girl, Interrupted the subject matter includes, amongst other traumatic experiences, rape, childhood abuse and suicide. The paper ponders the question of whether such aspects of (...) trauma can ever be authentically represented on film; or, whether, on the contrary, through the deployment of cultural stereotypes, cinematic representation tends rather to reproduce the very forms of structural power which are, in the first place, trauma's primary cause. Bresson emerges from this analysis in a favourable light for, whereas Mangold stereotypes victims of trauma and represents traumatic experience itself as inevitable and over-determined, Bresson always retains for the victim a sense of critical agency. By contrasting key scenes from both films, the paper suggests that contemporary popular cinema (the 'Hollywood-ized' form), working in tandem with institutions of social control, such as psychiatry, does not subvert but, in fact, reproduces patterns of structural power. This argument has particular significance for the cultural representation of women. The paper is theoretically framed by Simone Weil's reflections on both 'representation' and 'structural power'. (shrink)

In this paper, the author establishes and defends the thesis that the 1980s horror film production acts as a paradigm of the spectacle, especially in terms of the system of reduction of immediate life to image related mediations and phenomena. Thus, three disparate elements are now connected in a conceptual framework by which author supposes one must judge the media theory and media at large at the end of the twentieth and the beginning of the twenty-first century. The three elements (...) are the Heideggerian notion of the age of the world-picture, the Debordian notion of the spectacle, and the Deleuzian experiment of the philosophy of film that, through Beller, establishes itself as a film philosophy, to be a possible answer to the contemporary state of a society in which the film spectacle reflects itself in the essentially cinematic culture, that is, in society put in motion exclusively only through the relation of image representations. (shrink)

In my thesis I develop a theory of our mental, physiological and emotional involvement with motion pictures that accounts for the distinct role of perception in our cinematic experiences. In particular, I present a resemblance view of cinematic perception and depiction that begins with an analysis of motion picture screenings as events in the world to which audience members share perceptual access and to which we can attribute complex visual and auditory properties. By understanding the precise nature of (...) these properties and by understanding the mind's rich and dynamic relationship to visual and auditory stimuli, we can meet the demand of explaining the essential contribution of perception to our cinematic experiences. This positive theory is introduced through a philosophical and empirical critique of the work of several contemporary "cognitivist" film theorists who can been faulted for falling into the traps of traditional illusion accounts, failing to account for the perceptual nature of our film experiences, or incorrectly characterizing the nature of our perceptual relationship to cinematic content. (shrink)

Primarily a thought experiment, this essay explores how cinematic cyborgs and anthropological approaches to personhood and subjectivity might be theorized together. The 1980s and 1990s showed considerable investment by media producers, and strong reception by audiences and culture critics, to science fiction (SF) film and television franchises that brought new attention to the imagined cyborg subject in the popular imagination of the time. Outside of Hollywood, this same period was marked by biomedical and technological advancements that raised profound implications (...) for Western conceptions of personhood. While SF has enjoyed a long-standing position in the social sciences, primarily with sociologists and feminist theorists, SF’s preoccupation with what it means to be human calls for anthropological engagement as well. Yet if Donna Haraway envisioned cyborgs as celebrated sites of gender de/reconstruction and open possibility, why is it that cinematic cyborgs desire so strongly to become subjects of mothers, lovers, government, and God? While primary attention is given here to film texts and academic articles that drove discussions of science and technology in popular culture during the decades preceding the millennium, with remakes, reboots, and sequels to popular franchises underway, a renewed interest in the anthropological questions these films and series provoke is evident. (shrink)

Since the advent and standardization of the theatrical feature length film, the audio-visual short has been more or less marginalized in the discussions on cinematic experience. Historically stretching from the ‘early cinema’ of the vaudeville, to the now obsolete ‘little films’ of YouTube and beyond, the audio-visual short traverses a wide variety of media platforms, practices and technologies, including animation, video installation art, video clips and TV commercials, as well as animated GIFs, machinima and DIY movies, made to (...) measure for handheld devices. The widespread usage of the format suggests that short audio-visual artefacts are not an anomaly or rarity on the periphery of cinema, but rather should be put at the centre of our discussions when rethinking cinematic experience and the moving image today. Such is the request we have made to the contributors to this volume: to write a short essay on short film experience. (shrink)

ArgumentFilm scholars have long posed the question of the specificity of the film medium and the apparatus of cinema, asking what is unique to cinema, how it constrains and enables filmmakers and audiences in particular ways that other media do not. This question has rarely been considered in relation to scientific film, and here it is posed within the specific context of cell biology: What does the use of time-based media such as film coupled with the microscope allow scientists to (...) experience that other visualization practices do not? Examining three episodes in the twentieth-century study of the cell, this article argues that the apparatus of microcinematography constitutes what might be thought of as a technical portal to another world, a door that determines the experience of the world that lies on the other side of it. In this case, the design of apparatuses to capture time-lapsed images enabled the acceleration of cellular time, bringing it into the realm of human perception and experience. Further, the experience of the cellular temporal world was part of a distinct kind of cell biology, one that was focused on behavior rather than structure, focused on the relation between cells, and between the cell and its milieu rather than on cell-intrinsic features such as chromosomes or organelles. As such, the instruments and technical design of the microcinematographic apparatus may be understood as a kind of materialized epistemology, the history of which can elucidate how cinema was and is used to produce scientific knowledge. (shrink)

In Film and Phenomenology, Allan Casebier develops a theory of representation first indicated in the writings of the father of phenomenology, Edmund Husserl, and then applies it to the case of cinematic representation. This work provides one of the clearest expositions of Husserl's highly influential but often obscure thought. It also demonstrates the power of phenomenology to illuminate the experience of the art form unique to the twentieth-century cinema. Film and Phenomenology is intended as an antidote to all (...) hitherto existing theories about the nature of cinematic representation, whether issuing from classic sources such as the film theory of Andre Bazin or the post-structuralist synthesis of Lacanian psychoanalysis, Barthesian textual analysis and Metzean cine-semiotics. Casebier shows how a phenomenological account of representation will further the aims of any film theory. Developing a viable feminist film theory, legitimizing the documentary, answering the challenge of Derridean deconstruction, properly theorizing narrativity, Film and Phenomenology argues that theory of film must be Realist both with respect to epistemology and ontological issues. In this way, this work runs contrary to the whole course of contemporary film theory which has been deeply anti-Realist. (shrink)

Frank Kermode uses the term aevum to question the links between origin, order, and time, associating experience with spatial form. Without end or beginning, aevum identifies an intersubjective order of time where we participate in the “relation between the fictions by which we order our world and the increasing complexity of what we take to be the ‘real’ history of that world”; being “in-between” time is a primary quality of the aevum. Regarding cinema, aevum identifies this third duration as (...) emotional experience, occuring as traumatic time. It facilitates thinking beyond lived temporal experience of everyday life to a philosophy of experience that accounts for alternative sensoria of time, similar to the traumatic encounter. The cinematic aevum is equally not of the material, corporeal world; concurrently associating human reality with the myths of the human condition. To say that a cinematic aevum exists following traumatic scenes, is to specify a visual “time-fiction” in film, to recognise a spatial form that belongs neither to the finite time of the film's narrative, or of the “eternal” time outside the film's diegesis, but participates in the order (and linking) of both. Wilfred Bion's psychoanalytic works are used to discuss the traumatic symptom of “empty time”: the inability to recollect, to make links between memory and experience, demonstrating a version of empty time that works as an external violence to spectator perception. Bion's theories offer fresh psychoanalytic perspective on trauma and its relationship to time by challenging classical ways of thinking about inner and outer perception. (shrink)

This book is a study in film and philosophy that explores the intersection of global post-fascist cinema, ethics and justice, and screen bodies. It addresses the question "What is the good of film experience?" by staging an encounter between Levinasian-Derridean concerns over ethics and justice and cinematic engagements with issues of embodied and haptic response. In the end, this book argues such international filmmaking provokes us to respond through a redeployment of our questions of ethics and justice as (...) well as our questions of film making and experiencing. (shrink)

In this chapter, I discuss some ways in which debates about temporal experience intersect with wider debates about the nature of perception in general. In particular, I suggest that bearing in mind some general questions about the nature of perception can help with demarcating different theoretical approaches to temporal experience. Much of the current debate about temporal experience in philosophy is framed in terms of a debate between three specific main positions sometimes referred to as the extensional (...) model, the retentional model and the cinematic model. It is typically assumed that the differences between these three models are obvious. Yet, on closer inspection, it turns out to be surprisingly difficult to make out what exactly distinguishes the cinematic model from the extensional one, on the one hand, and from the retentional model, on the other. I criticise some existing ways in which the models are sometimes demarcated from one another, before suggesting that the differences between the three views become clearer if the debate between them is seen as turning on contrasting pictures of the nature of perceptual experience they embody. (shrink)

This article examines the relationship between technology and aesthetics in contemporary Hollywood, using experiments with frame rates and shutter speeds to show how deep, systemic changes in cinematic technologies can alter our relation to the image’s referential functions. For eighty years, cinema’s registration of movement relied upon a standardized frame rate and shutter speed, meaning that cinema’s sense of motion was constant. With the proliferation of ever more powerful digital capture systems, however, these formerly inflexible options are made variable (...) and put into question. By changing the registration of movement, the high frame rate experiments in The Hobbit and the open-shutter cinematography of Miami Vice offer an estranged relation to cinema’s presentation of worldly motion. I argue here that this altered sense of the image’s referentiality is well suited to depictions of our contemporary reality, which, being profoundly bound up in digital technologies, seems similarly disorienting, estranging, and aesthetic. In the first section of the article, I trace out the origins of this style of movement in the logics of the corporate tech industry, which rolls out continual upgrades in audio-visual technologies in order to justify new product lines. According to industry rhetoric, these upgrades ostensibly lead to a heightened sense of realism, but viewer response has been torn over whether this new sense of motion is realistic or unrealistic. In the second section, I closely analyze The Hobbit and the recent work of Michael Mann to show how established film form shifts in relation to this problem in digital cinema’s representation of worldly movement. In The Hobbit’s case, film form is altered in order to assimilate the HFR’s unfamiliar sense of motion, but the cinematography in Miami Vice embraces a productive aesthetic estrangement which is both realistic and hyperaestheticized, leaving the divide between immanent experience and technologized disorientation an open question. (shrink)

The films of Michael Haneke, so some critics argue, exploit the nihilism of a media-saturated culture, indulging in a dubious manipulation of audience expectations and our fascination with violence. Such criticisms, however, misunderstand or distort the complex moral, political, and aesthetic purpose of Haneke’s work. Indeed, his films are better understood as examining the socially disorienting and subjectively disintegrating effects of our post-humanist world of mass-mediatised experience. At the same time, they are highly reflexive cinematic works that force (...) us to reflect – both morally and aesthetically – upon our relationship with cinematic and media images. These two strands of Haneke’s work comprise a sustained meditation on what we might call the “post-humanist condition”: a cinematic critique of the disintegration and fragmentation of affect and subjectivity, a disintegration closely linked with contemporary forms of mediatised spectacle and the cynical consumption of images of violence. Given the mediatised nature of contemporary social experience, the only effective way to engage in cinematic critique is by means of the very images that capture and captivate us. (shrink)

Science is a discipline defined by empiricism and reliable methodologies that result in predictable outcomes. Yet, cutting-edge experiments inevitably involve an element of the unknown, an aspect which science fiction exploits for dramatic effect. Furthermore, fictional science is freed from the ethical constraints that regulate real-world experimentation and is therefore often transgressive. Even as films capitalize on unethical practices and cutting-edge scenarios for dramatic and commercial reasons, the origin of the filmmaker and/or place of production may affect a film’s content. (...) A film is also obviously subject to legal constraints, according to the country of origin, and classification codes in its place of exhibition. Thus, while the very nature of science fiction may cause it to appear morally unbridled, there are nonetheless multiple inhibitions entrenched in such depictions. By drawing on relevant cinematic examples, including Prometheus, The Hunger Games and District 9, and scientific scenarios on which these films are based, this essay explores how the unpredictable nature of advances in science, in combination with a lack of ethics, foregrounds the dangerous dimensions of science fiction. (shrink)

Boredom, in cinema as well as in our everyday experience, is usually associated with a generalised loss of meaning or interest. Accordingly, boredom is often perceived as that which ought to be avo...

Can some films be genuine thought experiments that challenge our commonsense intuitions? Certain filmic narratives and their mise-en-scène details reveal rigorous reasoning and counterintuitive outcomes on philosophical issues, such as skepticism or personal identity. But this philosophical façade may hide a mundane concern for entertainment. Unfamiliar narratives drive spectator entertainment, and every novel cinematic situation could be easily explained as part of a process that lacks motives of philosophical elucidation. -/- The paper inverses the above objection, and proposes that (...) when the main cinematic character resists spectator engagement (a crucial source of cinematic entertainment), emotionally challenged spectators also question their commonsensical beliefs about his/her actions, and detect a conceptually novel situation as such. -/- A case study is Mike Leigh’s film Happy-Go-Lucky (2008), in which the main female character presents an unrelenting but eccentric version of 'feel good' happiness. Spectators gradually detect that the previously unexamined, commonsensical version of subjective happiness comes at the price of individual eccentricity, and that the choice of a subjective theory of happiness leads to consequences hitherto unacknowledged. (shrink)

Jim Jarmusch's Dead Man is a modern myth. Like many ancient myths it seems to have the structure of a rite of passage analysed by van Gennep into three stages: separation, marginal existence and reintegration. Separation is precipitated by a traumatic event and the marginal state is characterized by extraordinary experiences and feats. However, Jarmusch's tale does not quite fit the ancient initiation pattern since the last stage, reintegration, is at least prima facie missing. This already undermines the social function (...) of initiation and warps the significance of the myth. The modern town of ?Machine?, where the marginal existence of Blake is sealed, looms in the background of the story of his final journey to the world of spirits whence he had come. But Blake cannot quite embrace the story in which he plays the protagonist. The story is cobbled together by the Native American called ?Nobody.? Blake sceptically resigns himself to his fate. Why does Blake do this? Jarmusch manipulates the generic structure of the initiation tale in order to say something culturally significant about the possibility of living a meaningful life in a world dominated by the machine. In other words, he tells a modern myth. What does his tale say? (shrink)

Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience, he reads films by Sergei Eisenstein and Pedro Almodóvar, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society. Kappelhoff applies the Deleuzean practice of "thinking in images" to his analysis of films and incorporates the approaches of Jacques Rancière and Richard Rorty, who (...) see politics in the permanent reconfiguration of poetic forms. This enables him to conceptualize film as a medium that continually renews the audiovisual spaces and temporalities through which audiences confront reality. Revitalizing the reading of films by Visconti, Fassbinder, Kubrick, Friedkin, and others, Kappelhoff affirms cinema's historical significance while discovering its engagement with politics as a realm of experience. (shrink)

In his famous essay, The Work of Art in the Age of Mechanical Reproduction, Walter Benjamin compares the daily experience of buildings with the perception of films. His comparison relies on the peculiar concept of “tactile reception“, he opposes to the optically oriented traditional attitude towards art. The concept encompasses two essential traits: on the one hand, it designates the fact that films do not require a contemplative, focused attention, but a habitual, distracted approach, similar to that by which (...) we perceive buildings in our everyday life-world. On the other hand, Benjamin’s concept points to a particular “chock-effect” produced by cinematic experience, through its constant change of perspectives and points of view. By this, it challenges precisely the same form of ambient perception required in numerous situations of our daily life in the modern city. The two determinations sketch out a unitary concept that shows obvious similarities to the phenomenological idea of a “life-worldly circumspection” , a specific manner of sight guiding everyday practical life. (shrink)

The general aim of this volume is to investigate the nature of the relation between pictorial experience and aesthetic appreciation. In particular, it is concerned with the character and intimacy of this relationship: is there a mere causal connection between pictorial experience and aesthetic appreciation, or are the two relata constitutively associated with one another? The essays in the book's first section investigate important conceptual issues related to the pictorial experience of paintings. In Section II, the essays (...) discuss the notion of styles, techniques, agency, and facture, and also take into account the experience of photographic and cinematic pictures. The Pleasure of Pictures goes substantially beyond current debates in the philosophy of depiction to launch a new area of reflection in philosophical aesthetics. (shrink)

This article explores the function of Israeli narrative films’ persistent, albeit marginal, portrayal of women as victims of sexual violence during the Holocaust. While the marginalization of such characters may be attributed to the difficulty of representing sexually-related trauma/post-trauma, their portrayal attests both to the ubiquity of sexually-related crimes in the Holocaust and to its aftermath: namely, the persistence of women’s trauma. The first of the two waves of ‘retro films’ examined here evinces the importance of the visual, cinematic (...) representation of women’s trauma. Its main function is to legitimize its disclosure through cinematic aesthetic/artistic mediation, for sexual violence was a crime committed against helpless victims. The second wave includes films made from the point of view of ‘the second generation’, and explores the topic further by dealing with the transmission of post-traumatic symptoms of women’s trauma to the second generation. (shrink)

The most powerful films have an afterlife. Their sensory appeal and their capacity to elicit involvement in story, character and conflict reaches beyond the screen to subtly reframe the way spectators view ethical issues and agents. This book questions how cinematic narratives relate to and affect ethical life.

In cinematic experience, a view from nowhere appears in an instituting moment – neither in time nor out of time, but part of time itself – when a camera reflex lifts the viewer’s perception out of somewhere and into the infinite time of the film. We argue that the view from nowhere found in Birt Acres’s film Rough Sea at Dover – a fifteen-second shot of waves breaking against a sea wall in Dover, England in 1895 – transcends (...) all attempts to turn it into a view from somewhere, as an empty space that carries the auratic trace of the past into the present through phase shifts of technical mediation. In Simondon’s terms, the view from nowhere opens up possibilities of becoming all ways at once in the reflexive capacity of the human organon. Following Stiegler’s organological technics, we identify the capture of perception by the apparatus of recording and playback in the digitally automated algorithm as a threat to the reflexive capability of the organon to see otherwise in the creative individuation opened up in the phase-shifting process. Our analysis triggers a switch from an anthropocentric to a neganthropic-ecological mode of seeing in which the auratic trace of the event of waves crashing against the pier is seen in an inhuman view from nowhere that carries the threat of automatized systems in which human noesis – self-reflexive capacity – is eclipsed by machines. By seeing otherwise, the eclipse by machines is reversed to reveal the complex becoming of the film in its materiality as a work of creative individuation. (shrink)

One of the most fascinating phenomena in contemporary art cinema is the re-emergence of a corporeal cinema, that is, of filmmaking practices that give precedence to cinema as the medium of the senses. This article thus explores trends of filmmaking and film theorizing where the experience of cinema is conceived as a unique combination of sensation and thought, of affect and reflection. It argues that, reconnecting with a certain tradition of French film theory in particular, contemporary French cinema offers (...) a point in case: a large collection of recently released French films typify this willingness to explore cinema's unique capacity to move us both viscerally and intellectually. In turn, the article suggests that such films, envisaged as forms of embodied thought, offer alternative ways, beyond that of mere appropriation and consumption, of envisaging the relationship of subjects to art, and, by extension, of subjects to objective world. (shrink)

This article aims to investigate the political and conceptual power of the successful and highly praised film Bacurau (Juliano Dornelles and Kleber Mendonça Filho, 2019) by inserting it within general trends of contemporary visual culture surrounding the issue of cinematic precarity. The discussion will find its analytical coordinates around the notions of chronotope and dialogism. These tools are notoriously attributed to Mikhail Bakhtin and are intended to investigate regular patterns in aesthetic experiences and to evaluate the differential and subversive (...) potential to be attributed to every case study. The grounding assumption of the following analysis is to understand cinematic experience as an ecological encounter and an affective and conceptual interaction in which viewers find the opportunity to explore and experience complex ethical systems: a productive interrelation that allows us also to connect the discussion with reflections upon general dynamics of neoliberal governance and with trajectories of resistance and revolt against it. (shrink)