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Paisley Livingston

one of Smith’s most salient statements on this topic: [A]esthetic experience is distinguished from ordinary experience by a particular kind of self-consciousness; a fully fledged aesthetic experience, I say, is one that we savour rather than simply

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Murray Smith

. And, while endorsing the suggestion in FACT that being aesthetic is a matter of degree (74), he casts doubt on whether self-consciousness is the right scalar property, instead favoring the proposal that the (or at least an) “essential scalar factor in

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Joerg Fingerhut

experience compared to other mental states and the self-conscious character of such an experience (i.e., we are savoring such experiences rather than just having them). The two latter motifs —specificity and the aspect of self-consciousness—become integrated

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David Bordwell

rather than causal cascades) but a different approach to narration (favoring unresolved situations, using style to maximize psychological or thematic ambiguity, presenting a high degree of self-consciousness). Just as we could distinguish various

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Torben Grodal

characteristics of the flow experience, some of which are strongly goal-oriented. Action and awareness are merged, self-consciousness disappears, and there is no room for information outside the narrow flow situation; time becomes distorted and provides a feeling

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Monstrous Masses

The Human Body as Raw Material

John Marmysz

object. This is Hegel’s point in the Phenomenology of Spirit when he writes, “A self-consciousness, in being an object, is just a smuch ‘I’ as ‘object’” (1977: 110). When thinking about ourselves, we become objects of our own thought, in a way analogous

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Murray Smith

Has there ever been a work reflecting on the characteristic aesthetic features, value, and experience afforded by Hollywood filmmaking with anything approaching the self-consciousness, rigor, and flair exhibited in Todd Berliner's Hollywood

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Grey Gardens and the Problem of Objectivity

Notes on the Ethics of Observational Documentary

Mathew Abbott

used as raw material, as in Truffaut's 400 Blows ) and “self-consciousness” (a trait Ruby associates with the upper middle class and Fellini's “turgid pseudo-Freudian” (2005, 36) self-reflections). He argues that reflexivity can be deployed in a range

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“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

evoked a period of youth spent roughing it in the mountains, implying physical prowess, Solomon reports a lifetime of bodily unease and self-consciousness. “I am a person who has never been comfortable in his body” (personal interview, August 2014