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By J. Chamarette
Utilizing hybrid phenomenological methods to movie, this e-book makes a speciality of how relocating pictures are 'experienced' and 'encountered' in addition to 'read' and 'viewed'. Its shut engagements with motion pictures and installations via 4 modern French filmmakers discover the boundaries and probabilities of 'cinematic' subjectivity.
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Extra info for Phenomenology and the Future of Film: Rethinking Subjectivity beyond French Cinema
Sample text
By addressing questions of time and the cinema as 21 22 Phenomenology and the Future of Film traced through the works of phenomenological, post-phenomenological and anti-phenomenological thinkers, what analogues, parallels, equivalents, co-valences might be drawn between time and subjectivity? And as a consequence, what might it be to think that between-space of subjective temporality or temporal subjectivity in cinema and cinematic art? Such questions form the basis of this preliminary chapter.
The ready appeal of cinema as an analogy for mental processes – cinema regarded from the start as a good way of imaging the workings of the mind [ . . ] brings exactly by its readiness the danger of the loss of the specificity of psychoanalytic understanding, of the originality of its grasp of psychical apparatus, unconscious and sexuality. (Heath 1999: 26) In spite of Heath’s somewhat pessimistic outlook on the disinterest of psychoanalysis with relation to the cinema, cinema has nevertheless become significant to psychoanalytic film theory, and possibly even psychoanalysis itself, as an allegorical illustrator of the constitutive 42 Phenomenology and the Future of Film unconscious and pre-conscious structures of the subject.
This brings Time and Matter 27 the ‘mark’ of memory into much closer contact with the indexicality of the photograph, or the film still. The stuttering and discontinuous play of temporality and consciousness appears to draw uncanny similarities to the stuttering and discontinuous play of film stills, which at 24 times per second becomes the moving image that we see in film. Argued in this fashion, the analogy between analogue film and processes of memory is almost faultless. Laura Mulvey makes this point explicit: The cinema (like photography) has a privileged relation to time, preserving the moment at which the image is registered, inscribing an unprecedented reality into its representation of the past.