Hermeneutics of the Film World : A Ricœurian Method for Film Interpretation

This book identifies a new methodological strategy for the interpretation of film philosophizing. Many recent works in film philosophy, adopting the approach identified with the term __film as philosophy__, have considered film as capable of doing philosophy. Focused on the basic relationship between film and filmgoer, the proposed method is founded on the concept of the film world. Combining Merleau-Ponty’s and Ricœur’s philosophies, and reconsidering Goodman’s theory of worldmaking, the film world becomes the hermeneutic horizon from which film philosophical thought can emerge. The book shows how Ricœurian methodology has the potential to provide a valuable resource for film studies by inviting scholars to consider film interpretation in terms of film world hermeneutics. Preface 6 Acknowledgements 9 Contents 11 List of Abbreviations 14 List of Figures 15 Introduction 17 Part I Definition of the Method 24 Chapter 1 Film and Philosophy 25 1.1 The Relationship Between Film and Philosophy 25 1.2 Possible Approaches to Film Philosophy 28 1.2.1 Philosophy of Film 29 1.2.2 Philosophy Through Film 31 1.2.3 Film About Philosophy 33 1.3 Film as Philosophy 34 1.3.1 Frampton’s Filmosophy: FaP as Theory 39 1.3.2 Mulhall’s On Film: FaP as Interpretation of Film(s) 42 1.4 Towards a New Methodological Approach to FaP 44 References 55 Chapter 2 Phenomenology of Film 59 2.1 Phenomenology as the Presupposition of Hermeneutics 59 2.1.1 Towards a Phenomenology of Film 61 2.2 Embodiment, Intentionality and the Synthetic and Synaesthetic Process 62 2.3 Film Experience as (Re)perception 64 2.3.1 Re-Perception Is Still Perception 68 2.3.2 Characteristics of Film Experience 70 2.3.3 Film Experience as Mediated Perception 72 2.3.4 Film Experience as Perception of a Perceptual Unity 75 2.3.5 Film Experience as Available and Shareable Perception 77 2.4 The Film World Through Phenomenology and Hermeneutics 78 References 83 Chapter 3 Film Worlds 86 3.1 Films as Film Worlds 86 3.2 The Film World as Experienceable Expression and Analysable Object 92 3.3 Film Worlds Making 94 3.4 The Film World as Hermeneutic Horizon 96 References 102 Chapter 4 Hermeneutics of Film 105 4.1 Merleau-Ponty’s Phenomenology and Ricœur’s Hermeneutics 105 4.2 Film Interpretation 108 4.3 Ricœurian Hermeneutics of Film 110 4.4 Hermeneutic Methodologies in Film 115 References 121 Chapter 5 Film Hermeneutic Method 124 5.1 Hermeneutics and Method 124 5.2 Ricœur’s Symbolic Interpretation and the Conflict of Interpretations 126 5.3 Dialectic of Understanding and Explanation 131 5.4 Schematizing Ricœur’s Hermeneutic Method 134 5.5 Towards a Hermeneutic Method for Film Interpretation 138 5.5.1 The Starting Point 138 5.5.2 Principles and Structure 139 5.5.3 An Endless Process 142 5.6 Structure and Phases of the Method 143 5.6.1 Phase 1: Naïve Understanding 144 5.6.1.1 Living the Present of the Film World 144 5.6.2 Phase 2: From Explanation to In-Depth Understanding 145 5.6.2.1 Analyzing the Past of the Film World 145 5.6.3 Phase 3: Critical Understanding and Appropriation 148 5.6.3.1 Looking Towards the Future of the Film World 148 5.7 Structure of the Method 149 References 154 Part II Application of the Method 157 Chapter 6 Case Studies 158 6.1 Case Study Research 158 6.2 Case Studies and Film Worlds 162 References 165 Chapter 7 Manhattan: The Film World as Identity 166 7.1 Phase 1: Naïve Understanding 167 7.1.1 The Initial Guess: Manhattan as Identity 167 7.1.2 Symbolic Elements of the Film World: Manhattan’s Ecologies 167 7.2 Phase 2: From Explanation to In-Depth Understanding 179 7.2.1 Origin of the Film World: A Close Group of Professionals and Friends 179 7.2.2 History of Interpretations: Authorial Perspective and Autobiographical Thesis 182 7.2.3 Exegesis of Symbolic Meanings: Place-Identity Theory and Human Behavioural Ecology 190 7.2.4 Conflict of Interpretations: Allen’s Manhattan and Radical Criticism of Society 195 7.3 Phase 3: Critical Understanding and Appropriation 199 7.3.1 Critical Understanding of Interpretation: Further Clues on Manhattan’s Film World 199 7.3.2 Critical Understanding of Interpreter: Between Terrorism and Paedophilia 201 7.3.3 Philosophy of the Film World: Jarvie, Lee, and Skoble 205 References 211 Chapter 8 The King of Comedy: The Film World as Representation 218 8.1 Phase 1: Naïve Understanding 219 8.1.1 The Initial Guess: Living in the World of Media 219 8.1.2 Symbolic Elements of the Film World: A King or a Schmuck? 221 8.2 Phase 2: From Explanation to in-Depth Understanding 241 8.2.1 Origin of the Film World: Loneliness and Rejection 241 8.2.2 History of Interpretations: The Relationship Between KC and Taxi Driver 244 8.2.3 Exegesis of Symbolic Meanings: Social Space, TV Stars and Narrative Identity 251 8.2.4 Conflict of Interpretations: Rupert’s Fantasies and Female Identity 258 8.3 Phase 3: Critical Understanding and Appropriation 263 8.3.1 Critical Understanding of Interpretation: Psychopathology and Dramatization in KC 263 8.3.2 Critical Understanding of Interpreter: Still on Identity and Images 264 8.3.3 Philosophy of the Film World: A Postmodernist Perspective 266 References 269 Chapter 9 Pretty Woman: The Film World as Dream 273 9.1 Phase 1: Naïve Understanding 274 9.1.1 The Initial Guess: What’s Your Dream? 274 9.1.2 Symbolic Elements of the Film World: Between Idealism and Materialism 275 9.2 Phase 2: From Explanation to In-Depth Understanding 287 9.2.1 Origin of the Film World: A Very Different Story 287 9.2.2 History of Interpretations: Blatant Consumerism and Reactionary Anti-Feminism 291 9.2.3 Exegesis of Symbolic Meanings: Space as Social Product 300 9.2.4 Conflict of Interpretations: A Dream or a Nightmare? 304 9.3 Phase 3: Critical Understanding and Appropriation 308 9.3.1 Critical Understanding of Interpretation: Family Relationships and Friendship 308 9.3.2 Critical Understanding of Interpreter: Still Hesitating Between Dream and Nightmare 311 9.3.3 Philosophy of the Film World: Contradiction and Transformation 312 References 314 Conclusion 319 References 324 Index 325 Front Matter ....Pages i-xxvii Front Matter ....Pages 1-1 Film and Philosophy (Alberto Baracco)....Pages 3-36 Phenomenology of Film (Alberto Baracco)....Pages 37-63 Film Worlds (Alberto Baracco)....Pages 65-83 Hermeneutics of Film (Alberto Baracco)....Pages 85-103 Film Hermeneutic Method (Alberto Baracco)....Pages 105-137 Front Matter ....Pages 139-139 Case Studies (Alberto Baracco)....Pages 141-148 Manhattan: The Film World as Identity (Alberto Baracco)....Pages 149-200 The King of Comedy: The Film World as Representation (Alberto Baracco)....Pages 201-255 Pretty Woman: The Film World as Dream (Alberto Baracco)....Pages 257-302 Back Matter ....Pages 303-321 Annotation Combining Merleau-Ponty's and Ricour's philosophies, and reconsidering Goodman's theory of worldmaking, the film world becomes the hermeneutic horizon from which film philosophical thought can emerge. This book shows how Ricurian methodology has the potential to provide a valuable resource for film studies by inviting scholars to consider film interpretation in terms of film world hermeneutics