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, legitimising the
documentary, answering the challenge of Derridean deconstruction,
properly theorising 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.
General
Imprint: |
Cambridge UniversityPress
|
Country of origin: |
United Kingdom |
Series: |
Cambridge Studies in Film |
Release date: |
April 2009 |
First published: |
April 2009 |
Authors: |
Allan Casebier
|
Dimensions: |
229 x 152 x 10mm (L x W x T) |
Format: |
Paperback - Trade
|
Pages: |
176 |
ISBN-13: |
978-0-521-10854-6 |
Categories: |
Books >
Arts & Architecture >
Performing arts >
Films, cinema >
General
Promotions
|
LSN: |
0-521-10854-3 |
Barcode: |
9780521108546 |
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