Download PDF by Hunter Vaughan: Where Film Meets Philosophy: Godard, Resnais, and

By Hunter Vaughan

Closely analyzing the flicks of Jean-Luc Godard and Alain Resnais, Hunter Vaughan establishes a connection among phenomenology and image-philosophy to research the relocating photograph and its problem to standard modes of inspiration. Striving to set up a transparent origin for the hot box of inquiry known as “film-philosophy,” he devises a scientific idea of film’s philosophical functionality and its deconstruction of vintage oppositional strategies, corresponding to topic and item, genuine and imaginary, and inside and exterior.

After merging Maurice Merleau-Ponty’s concept of subject-object kinfolk with Gilles Deleuze’s image-philosophy, Vaughan applies this wealthy framework to a comparative research of Godard and Resnais. Godard’s paintings evaluations the audio-visual phantasm of empirical commentary (objectivity), whereas Resnais’s cutting edge play with the sound-image generates new, exciting portrayals of person event (subjectivity). either noticeably deconstruct classical movie codes, upending traditional notions of subjectivity and, via reorganizing formal components, reconfigure subject-object family to change our figuring out of ourselves and the area. motion pictures mentioned comprise Godard’s Vivre sa vie (1962), Contempt (1963), and his lesser-critiqued 2 or three issues i do know approximately Her (1967); Resnais’s Hiroshima, mon amour (1959), final 12 months at Marienbad (1961) and his significantly missed masterpiece, The conflict is Over (1966). Situating the formative works of those filmmakers inside of a broader philosophical context, Vaughan pioneers a phenomenological movie semiotics that reconciles disparate methodologies and joins them to the achievements of 2 likely oppositional artists.

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By Hunter Vaughan

Closely analyzing the flicks of Jean-Luc Godard and Alain Resnais, Hunter Vaughan establishes a connection among phenomenology and image-philosophy to research the relocating photograph and its problem to standard modes of inspiration. Striving to set up a transparent origin for the hot box of inquiry known as “film-philosophy,” he devises a scientific idea of film’s philosophical functionality and its deconstruction of vintage oppositional strategies, corresponding to topic and item, genuine and imaginary, and inside and exterior.

After merging Maurice Merleau-Ponty’s concept of subject-object kinfolk with Gilles Deleuze’s image-philosophy, Vaughan applies this wealthy framework to a comparative research of Godard and Resnais. Godard’s paintings evaluations the audio-visual phantasm of empirical commentary (objectivity), whereas Resnais’s cutting edge play with the sound-image generates new, exciting portrayals of person event (subjectivity). either noticeably deconstruct classical movie codes, upending traditional notions of subjectivity and, via reorganizing formal components, reconfigure subject-object family to change our figuring out of ourselves and the area. motion pictures mentioned comprise Godard’s Vivre sa vie (1962), Contempt (1963), and his lesser-critiqued 2 or three issues i do know approximately Her (1967); Resnais’s Hiroshima, mon amour (1959), final 12 months at Marienbad (1961) and his significantly missed masterpiece, The conflict is Over (1966). Situating the formative works of those filmmakers inside of a broader philosophical context, Vaughan pioneers a phenomenological movie semiotics that reconciles disparate methodologies and joins them to the achievements of 2 likely oppositional artists.

Show description

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Where Film Meets Philosophy: Godard, Resnais, and Experiments in Cinematic Thinking (Film and Culture Series) by Hunter Vaughan


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