Search Results

You are looking at 1 - 10 of 37 items for :

  • ontology of cinema x
Clear All
Full access

Other Sides

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

Saige Walton

Maurice Merleau-Ponty’s existential phenomenology has been crucial to contemporary film-phenomenology, yet his later thought has not received the same attention. Drawing on “Eye and Mind” and other writings, I apply the philosopher’s ontological concept of depth to the cinema. Using Laurie Anderson’s Heart of a Dog (2015), an intimate, experimental portrait of animal life, death, grief, and loss, I approach Anderson’s film as “depthful” cinema, bringing Heart of a Dog into a dialogue with Merleau-Ponty, the film essay, and the lyrical film. Through its diffractions of the subjective “eye/I,” its poetic approach to grief, and its openness to nonhuman ways of being, I argue that Anderson’s film is in accord with Merleau-Ponty’s later thinking on depth in art and in the world.

Full access

Edited by Stephen Prince

Opening this issue of Projections is a provocative article by Ted Nannicelli exploring the myriad ways viewers today may encounter movies and the issues these modes of encounter pose for conceptions of cinema that emphasize a fixed, large

Full access

Ted Nannicelli

sketch out some ideas about the ontology of art and of cinema in particular. In their explorations of the ontology of art, many philosophers have found it helpful to think about some arts, such as painting, as having “single instances” and other arts

Full access

Mario Slugan

: 164–172 ) does say that cinema “cannot give us paintings as they really are,” but it seems this statement pertains more to the phenomenological reality of paintings (color, geological time, and framing) rather than to the special ontological relation

Full access

The Aesthetics of Boredom

Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia

Emre Çağlayan

As a leisure activity with pretense to entertainment and aesthetic stimulation, cinema can be seen as the antithesis of boredom. Few—if any—spectators afford the cinema in order to be bored. On the contrary, cinema suspends the desire to fill time

Full access

Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman and Joseph Christopher Schaub

-Metereau and Colleen Glenn offer an edited collection, Star Bodies and the Erotics of Suffering , which was inspired by a panel that they presented at the Society for Cinema and Media Studies 2011 annual conference. The collected essays examine the body of the

Free access

Queering Virginity

From Unruly Girls to Effeminate Boys

Eftihia Mihelakis

on virginity in non-Western cinema. In the eighth and final chapter, “The Policing of Viragos and Other ‘Fuckable’ Bodies: Virginity as Performance in Latin America,” Tracy Crowe Morey and Adriana Spahr begin “with the epistemological (or performed

Full access

Paul Taberham and Kaitlin Brunick

relation to the ways in which media and genres come together with philosophy and the popular arts. So it begins with a discussion of the “Philosophy of Mass Art” (which includes essays on the ontology of mass art, modernity and the plasticity of perception

Full access

Seeing Yourself in the Past

The Role of Situational (Dis)continuity and Conceptual Metaphor in the Understanding of Complex Cases of Character Perception

Maarten Coëgnarts, Miklós Kiss, Peter Kravanja and Steven Willemsen

When classifying contemporary cinema, a substantial portion of the academic debate amounts to a discussion of narrative complexity, that is, a number of film scholars have theorized and evaluated cinema’s recent (from the early 1990s) tendency

Full access

Sol Neely

Of all the films in contemporary zombie cinema, Deadgirl (2008) takes its place as an especially provocative and controversial film, lending it an almost instant cult status upon release. The disturbing scenario on which the horror is staged is