Introduction: The Death of God, the Birth of Film, and the New Metaphysics
Chapter One Image Breakthrough: Disclosure and Derailment in Painting, Photography, and Film
I. Art in the Wake of Metaphysics
II. The Myth of the Lumiere Leaf
Chapter Two The Evolution of the Concept of "World" from Philosophy to Film
I. The World in the Palm of Philosophy
II. Film in the World's Palm, or the World in its Own Image
III. Metaphysical Figures in Days of Heaven
Chapter Three Paradise Exposed: Psychic Automatism in Film
Primer: "While the will is off its watch"
I. The Mechanical Garden
II. Heinrich von Kleist's Marionette Theater
III. Robert Bresson's Filmic Models
Chapter Four Nature, Whose Death Shines a Light: Exteriority and Overexposure in The Thin Red Line
I. Introduction
II. Dramaturgy of Nature
III. A Cinematic Sublime
IV. Metaphysics of the Front
Chapter Five "Mother, I am Dumb ...": The Reevaluation of Friedrich Nietzsche in The Turin Horse
Rezensionen / Stimmen
Mowchun has reawakened my love of philosophy and made me freshly mindful of the high calling of cinema as an art form. He brings the most anti-metaphysical positions and arguments into alignment with his own metaphysical reclamation scheme, demonstrating how inextinguishable metaphysical shadows and hankerings are, and how profitable it is to work against the grain of the thinkers he is exploring, without ever being dismissive of, or out of touch with their own aspirations. -- George Toles, University of Manitoba Trevor Mowchun's extraordinary new book shines new light on our understanding of things far more basic than film, including experience, consciousness, perception, and reality. An extremely stylish and engaging author, Mowchun takes us on a tour of his own deepest concerns and passions, compels us to share them, and tells us something new about ourselves and the cinematic experiences we have had our whole lives, and which we now see we have failed to examine to their very depths. -- Justin E.H. Smith, University of Paris A remarkably engrossing, admirably passionate, and refreshingly idiosyncratic meditation on film and philosophy that gives much to think. -- Steven DeLay * New Review of Film and Television Studies *
Sprache
Verlagsort
Zielgruppe
Produkt-Hinweis
Fadenheftung
Gewebe-Einband
Illustrationen
80 black and white illustrations
Maße
Höhe: 234 mm
Breite: 156 mm
Dicke: 18 mm
Gewicht
ISBN-13
978-1-4744-9390-1 (9781474493901)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Trevor Mowchun is Assistant Professor and Director of Film and Media Studies at University of Florida. His scholarly essays and criticism have appeared in Film International, New Review of Film and Television Studies, Cineaction, Evental Aesthetics, and Senses of Cinema. He also co-wrote and directed World to Come, an experimental drama on the spiritual disenchantment that plagues a religious community in the wake of tragedy.
Autor*in
Assistant Professor in Film and Media StudiesUniversity of Florida
Introduction: The Death of God, the Birth of Film, and the New Metaphysics
Chapter One Image Breakthrough: Disclosure and Derailment in Painting, Photography, and Film
I. Art in the Wake of Metaphysics
II. The Myth of the Lumiere Leaf
Chapter Two The Evolution of the Concept of "World" from Philosophy to Film
I. The World in the Palm of Philosophy
II. Film in the World's Palm, or the World in its Own Image
III. Metaphysical Figures in Days of Heaven
Chapter Three Paradise Exposed: Psychic Automatism in Film
Primer: "While the will is off its watch"
I. The Mechanical Garden
II. Heinrich von Kleist's Marionette Theater
III. Robert Bresson's Filmic Models
Chapter Four Nature, Whose Death Shines a Light: Exteriority and Overexposure in The Thin Red Line
I. Introduction
II. Dramaturgy of Nature
III. A Cinematic Sublime
IV. Metaphysics of the Front
Chapter Five "Mother, I am Dumb ...": The Reevaluation of Friedrich Nietzsche in The Turin Horse
