Film And Phenomenology: Towards A Realist Theory Of Cinematic Representation (cambridge Studies In Film)

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.

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.

Cover......Page 1 Contents......Page 6 Acknowledgments page......Page 8 Introduction......Page 10 Husserl's theory of artistic representation......Page 18 The concept of the noema......Page 34 The ontology of cinematic representation......Page 43 The epistemology of cinematic representation......Page 56 Transaction, transparency, and transcendence......Page 71 Husserl's epistemology as told by Jean-Louis Baudry......Page 82 Notes......Page 87 An oriental mode of cinematic representation......Page 92 Cinematic sound......Page 100 The fabula......Page 108 The diegesis......Page 114 The Imaginary......Page 121 Feminist theories of cinematic representation......Page 128 Notes......Page 141 Rescuing the documentary......Page 146 Derridean deconstruction and the documentary......Page 156 Notes......Page 162 Conclusion......Page 164 Selected bibliography......Page 159 Filmography......Page 161 Index......Page 163 Film and Phenomenology presents a new approach to the question of cinematic representation, which runs contrary to the course of contemporary film theory.Film and Phenomenology presents a new approach to the question of cinematic representation which runs contrary to the course of contemporary film theory. Allan Casebier. Includes Bibliographical References (p. 159-160) And Index. Filmography: P. 161-162.