Kooperativer Bibliotheksverbund

UID:

Format: 1 online resource : , 42 photographs

ISBN: 9780231530828

Series Statement: Film and Culture Series

Note: Frontmatter -- , Contents -- , List of Illustrations -- , Acknowledgments -- , Introduction: Where Film Meets Philosophy -- , 1. Phenomenology and The Viewing Subject -- , 2. Film Connotation And The Signified Subject -- , 3. Sound, Image, And The Order Of Meaning -- , 4. Alain Resnais And The Code Of Subjectivity -- , 5. Jean-Luc Godard And The Code Of Objectivity -- , Conclusion: Where Film And Philosophy May Lead -- , Notes -- , Bibliography -- , Index -- , Backmatter

Language: English

DOI: 10.7312/vaug16132

URL: https://doi.org/10.7312/vaug16132

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Format: Online-Ressource (262 p)

Edition: Online-Ausg.

ISBN: 9780231530828

Series Statement: Film and Culture Series

Content: Closely reading the films of Jean-Luc Godard and Alain Resnais, Hunter Vaughan establishes a connection between phenomenology and image-philosophy to analyze the moving image and its challenge to conventional modes of thought. Striving to establish a clear foundation for the recent field of inquiry called ?film-philosophy," he devises a systematic theory of film's philosophical function and its deconstruction of classic oppositional concepts, such as subject and object, real and imaginary, and interior and exterior.After merging Maurice Merleau-Ponty's theory of subject-object relations with G

Note: Description based upon print version of record , Dedication; { Contents }; List of Illustrations; Acknowledgments; Introduction: Where Film Meets Philosophy; 1. Phenomenology and the Viewing Subject; 2. Film Connotation and the Signified Subject; 3. Sound, Image, and the Order of Meaning; 4. Alain Resnais and the Code of Subjectivity; 5. Jean-Luc Godard and the Code of Objectivity; Conclusion: Where Film and Philosophy May Lead; Notes; Bibliography; Index;

Additional Edition: ISBN 9780231161329

Additional Edition: Erscheint auch als Druck-Ausgabe Where Film Meets Philosophy Godard, Resnais, and Experiments in Cinematic Thinking

Language: English

Keywords: Electronic books

DOI: 10.7312/vaug16132

URL: Volltext

URL: Volltext

URL: Cover

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Format: 1 Online-Ressource , Illustrationen

ISBN: 9780231530828

Series Statement: Film and culture series

Additional Edition: Erscheint auch als Druck-Ausgabe, cloth ISBN 978-0-231-16132-9

Additional Edition: Erscheint auch als Druck-Ausgabe, pbk ISBN 978-0-231-16133-6

Language: English

Subjects: General works

Keywords: Godard, Jean-Luc 1930-2022 ; Resnais, Alain 1922-2014 ; Film ; Geschichte 1959-1967

DOI: 10.7312/columbia/9780231161336.001.0001

DOI: 10.7312/vaug16132

URL: Volltext  (URL des Erstveröffentlichers)

UID:

Format: 1 online resource : , illustrations (black and white).

ISBN: 9780231530828 (ebook) :

Series Statement: Film and culture

Content: Closely reading the films of Jean-Luc Godard and Alain Resnais, Hunter Vaughan explores the phenomenology of the moving image and its challenge to conventional modes of thought.

Additional Edition: Print version : ISBN 9780231161336

Language: English

URL: Columbia scholarship online

UID:

Format: 1 online resource (262 p.)

ISBN: 0-231-53082-X

Series Statement: Film and culture

Content: Hunter Vaughan interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles Deleuze's image-philosophy, Vaughan applies a rich theoretical framework to a comparative analysis of Jean-Luc Godard's films, which critique the audio-visual illusion of empirical observation (objectivity), and the cinema of Alain Resnais, in which the sound-image generates innovative portrayals of individual experience (subjectivity). Both filmmakers radically upend conventional film practices and challenge philosophical traditions to alter our understanding of the self, the world, and the relationship between the two. Films discussed in detail include Godard's Vivre sa vie (1962), Contempt (1963), and 2 or 3 Things I Know About Her (1967); and Resnais's Hiroshima, mon amour (1959), Last Year at Marienbad (1961), and The War Is Over (1966). Situating the formative works of these filmmakers within a broader philosophical context, Vaughan pioneers a phenomenological film semiotics linking two disparate methodologies to the mirrored achievements of two seemingly irreconcilable artists.

Note: Description based upon print version of record. , Frontmatter -- , Contents -- , List of Illustrations -- , Acknowledgments -- , Introduction: Where Film Meets Philosophy -- , 1. Phenomenology and The Viewing Subject -- , 2. Film Connotation And The Signified Subject -- , 3. Sound, Image, And The Order Of Meaning -- , 4. Alain Resnais And The Code Of Subjectivity -- , 5. Jean-Luc Godard And The Code Of Objectivity -- , Conclusion: Where Film And Philosophy May Lead -- , Notes -- , Bibliography -- , Index -- , Backmatter , Issued also in print. , English

Additional Edition: ISBN 0-231-16133-6

Additional Edition: ISBN 0-231-16132-8

Language: English

DOI: 10.7312/vaug16132