Download Documentary Time: Film and Phenomenology (Visible Evidence, by Malin Wahlberg PDF

By Malin Wahlberg

Discovering the theoretical house the place cinema and philosophy meet, Malin Wahlberg’s refined method of the event of documentary movie aligns with makes an attempt to think again the premises of existential phenomenology. The configuration of time is essential in organizing the sensory impacts of movie more often than not yet, as Wahlberg adroitly demonstrates, in nonfiction motion pictures the matter of handling time is writ huge by means of the relocating image’s interplay with social reminiscence and historic figures.
Wahlberg discusses a thought-provoking corpus of classical and up to date experiments in movie and video (including Andy Warhol’s movies) during which inventive techniques to the time of the picture and the capability archive reminiscence of filmic illustration illuminates meanings of temporality and time event. She additionally deals a methodological account of movie and brings Deleuze and Ricoeur into discussion with Bazin and Mitry as regards to cinema and phenomenology.
Drawing recognition to the cultural value of the images’ imprint as a hint of the prior, Documentary Time brings to undergo phenomenological inquiry on nonfiction movie whereas even as reconsidering the existential dimensions of time that experience consistently questioned humans.
Malin Wahlberg is a learn fellow in cinema experiences at Stockholm University.

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Additional info for Documentary Time: Film and Phenomenology (Visible Evidence, Volume 21)

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The important difference between Sobchack and Casebier is that she refuses to see each mode of cinematic identification as propelled by any preconstituted status of the film. 45 Sobchack offers a modified theory that opposes the metaphysical doxa of classical phenomenology, while reconsidering perception as embodied vision. Also, her work is an important attempt to present existential phenomenology as an alternative to the psychoanalytical model of spectatorship and cinematic identification. In the remainder of this book I argue that the problems of image and time in aesthetic theory and film studies cannot be separated from the tradition of existential phenomenology.

14 So Deleuze refers to the paradoxical instant and the question whether cinema mimics this classical philosophical argument. As Mary Ann Doane argues, his contribution consists in the idea that cinema reveals Zeno’s fallacy and, we may add, the mistake of Husserl. 15 ᮣ A Model of Perception We commonly refer to Cinema by Gilles Deleuze as a film book in two volumes: Cinema 1: The Movement-Image, which brings attention to the THE TIME-IMAGE AND THE TRACE 25 linear narration and figures of image-affect in “classical cinema”; Cinema 2: The Time-Image, a celebration of postwar art film, whose narrative structure and layering of sound and image offer radically new crystalline figures of perception, time, and memory.

Arguing in polemical terms for a final expunction of the idealist/ nominalist framework in film studies, Casebier seems today to have few inheritors. 40 Vivian Sobchack’s The Address of the Eye stands out as a critical antidote to the former, integrated as it is within the idealist/nominalist position so affectively rejected by Casebier. Her theoretical approach to film experience is based on the philosophy of Maurice Merleau-Ponty, who critically modified the theses of Husserl and Martin Heidegger, in order to posit the existential and semiotic aspects of the Lebenswelt and Dasein (here understood as an intersubjective, historical, and social sphere of experience).

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