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Violent Thresholds

Sights and Sounds of the Cinematic Baroque in Pascal Laugier's Martyrs

Lawrence Alexander

phenomenological film theory developed by Vivian Sobchack (1992 , 2004 ). In Cinema's Baroque Flesh , Film, Phenomenology and the Art of Entanglement , Walton adopts this theoretical framework to tease out the affinities of Maurice Merleau-Ponty's phenomenology

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Other Sides

Loving and Grieving with Heart of a Dog and Merleau-Ponty's Depth

Saige Walton

Brakhage: ‘Death is a Meaningless Word’ Part 1 .” Offscreen 7 ( 2 ). . Walton , Saige . 2016 . Cinema's Baroque Flesh: Film, Phenomenology and the Art of Entanglement . Amsterdam : Amsterdam University

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A. Anthony, Tess S. Skadegård Thorsen, Steen Ledet Christiansen, and Carmela Garritano

Reina Gossett, Eric A. Stanley, and Johanna Burton, eds., Trap Door: Trans Cultural Production and the Politics of Visibility (Cambridge, MA: MIT Press, 2017), 419 pp. ISBN: 9780262036603 (hardback, $49.95)

Katharina Lindner, Film Bodies: Queer Feminist Encounters with Gender and Sexuality in Cinema (London: I. B. Tauris, 2018), 272 pp. ISBN: 9781784536244 (hardback, £72)

Saige Walton, Cinema’s Baroque Flesh: Film, Phenomenology, and the Art of Entanglement (Amsterdam: Amsterdam University Press, 2016), 280 pp. ISBN 978 90 8964 951 5 (hardback, €95)

Marietta Kesting, Affective Images: Post-apartheid Documentary Perspectives (Albany: State University of New York Press, 2017). vi +278pp. ISBN: 9781438467856 (hardback, $95); ISBN: 9781438467849 (paperback, $29.95)

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Guest Editor's Introduction

Phenomenology Encounters Cognitivism

Robert Sinnerbrink

. Phenomenological Approaches to Film As Christian Ferencz-Flatz and Julian Hanich remark, providing a coherent overview of film phenomenology is no easy task; it requires surveying a large and sprawling field, “the contours of which seem to be as vague as the

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Book Reviews

Margrethe Bruun Vaage and Gabriella Blasi

and Affect in Eco-films: Phenomenological Approaches” embraces the interdisciplinary approach of ecocriticism and claims that eco-films work through a combination of cognition, emotion, and affect. In combining the film phenomenology of Laura Marks and

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How Many Emotions Does Film Studies Need?

A Phenomenological Proposal

Julian Hanich

Encounters Cognitivism,” Robert Sinnerbrink (2019, 1 ) claimed that, while film-cognitivism and film-phenomenology are still estranged from one another, the polemical disputes have largely dissipated. However, a lack of familiarity remains that “still breeds

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Situating Screen Bodies

Brian Bergen-Aurand

in Cinema by Katharina Lindner; Cinema’s Baroque Flesh: Film, Phenomenology and the Art of Entanglement by Saige Walton; A Capsule Aesthetic: Feminist Materialisms in New Media Art by Kate Mondloch; Chinese Surplus: Biopolitical Aesthetics and

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Elemental Imagination and Film Experience

Climate Change and the Cinematic Ethics of Immersive Filmworlds

Ludo de Roo

Practice . London : Routledge . Safit , Ilan . 2014 . “ Nature Screened: An Eco–Film–Phenomenology .” Environmental Philosophy 11 ( 2 ): 211 – 235 . doi: 10.5840/envirophil201471011 . 10.5840/envirophil201471011 Sallis , John . 2000 . Force

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New Research

The Performance of Curation in WifiBody 2020 as Virtual Body; The Gates of Discomfort; A Rural Dance Festival in the Palm of Your Hand; Merging Asynchronous Sounds into Synchronous Voices

Myra Beltran, Angela Conquet, Christo Doherty, Athena Mazarakis, and Roselle Pineda

Sobchack (1991) proposed in her book on film phenomenology, the expression of the dancing body and the choreographers’ perception of their body cannot not be separated from the intentionality of the whole—the dancefilm—given the perceptive and expressive