Where Film Meets Philosophy: Godard, Resnais, and Experiments in Cinematic Thinking (Film and Culture Series)

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. 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.--publisher's Website. Introduction: Where Film Meets Philosophy -- Phenomenology And The Viewing Subject -- Film Connotation And The Signified Subject -- Sound, Image, And The Order Of Meaning -- Alain Resnais And The Code Of Subjectivity -- Jean-luc Godard And The Code Of Objectivity -- Conclusion: Where Film And Philosophy May Lead. Hunter Vaughan. Includes Bibliographical References And Index. "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."--Résumé de l'éditeur Closely reading the films of Jean-Luc Godard and Alain Resnais, Hunter Vaughan establishes a connection between phenomenology and image-philosophy to analyze the moving image and its challenge to conventional modes of thought. Striving to establish a clear foundation for the recent field of inquiry called?film-philosophy," he devises a systematic theory of film's philosophical function and its deconstruction of classic oppositional concepts, such as subject and object, real and imaginary, and interior and exterior. After merging Maurice Merleau-Ponty's theory of subject-object rel