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.
發表於2024-11-25
Film and Phenomenology 2024 pdf epub mobi 電子書 下載
圖書標籤: 電影 現象學 英國 研究 哲學 劍橋 theory phenomenology
很有道理,可是接下來分析要怎麼做。。。For Casebier himself wants nothing less than to turn this accusation of idealism against authors like Baudry or Metz, who reproached Husserl’s idealism, by calling them to be the actual idealists, whereas Husserl’s phenomenology is on the contrary sold as a solid resource for constructing a viable realist conception of cinema in
評分我一直在想牛津、劍橋不待見文化研究反倒在電影研究裏強調哲學研究和現象學的方法是不是維持它們貴族教育的傳統(當然也有一些美國大學),這事兒還被一些香港人拿來說去年孔慶東罵人事件,感覺搞文化研究的都是學術暴發戶一樣用來兜售理論的,迴來把香港搞得烏七八糟。當然,那篇文章是有點傻逼,不過我在想其中的焦慮很大程度上就是這本書裏提到的關於現代電影理論建立在後現代理論和極端唯名論的不穩定基礎上,用Roger的話說後現代理論就是唯名論走到的極端,而現象學的方法是反思這個理論基礎。
評分我一直在想牛津、劍橋不待見文化研究反倒在電影研究裏強調哲學研究和現象學的方法是不是維持它們貴族教育的傳統(當然也有一些美國大學),這事兒還被一些香港人拿來說去年孔慶東罵人事件,感覺搞文化研究的都是學術暴發戶一樣用來兜售理論的,迴來把香港搞得烏七八糟。當然,那篇文章是有點傻逼,不過我在想其中的焦慮很大程度上就是這本書裏提到的關於現代電影理論建立在後現代理論和極端唯名論的不穩定基礎上,用Roger的話說後現代理論就是唯名論走到的極端,而現象學的方法是反思這個理論基礎。
評分我一直在想牛津、劍橋不待見文化研究反倒在電影研究裏強調哲學研究和現象學的方法是不是維持它們貴族教育的傳統(當然也有一些美國大學),這事兒還被一些香港人拿來說去年孔慶東罵人事件,感覺搞文化研究的都是學術暴發戶一樣用來兜售理論的,迴來把香港搞得烏七八糟。當然,那篇文章是有點傻逼,不過我在想其中的焦慮很大程度上就是這本書裏提到的關於現代電影理論建立在後現代理論和極端唯名論的不穩定基礎上,用Roger的話說後現代理論就是唯名論走到的極端,而現象學的方法是反思這個理論基礎。
評分很有道理,可是接下來分析要怎麼做。。。For Casebier himself wants nothing less than to turn this accusation of idealism against authors like Baudry or Metz, who reproached Husserl’s idealism, by calling them to be the actual idealists, whereas Husserl’s phenomenology is on the contrary sold as a solid resource for constructing a viable realist conception of cinema in
Film and Phenomenology 2024 pdf epub mobi 電子書 下載