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The Address of the Eye : A Phenomenology of Film Experience /
Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparat...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Princeton, NJ :
Princeton University Press,
[2020]
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| Temas: | |
| Acceso en línea: | Texto completo Texto completo |
MARC
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| 100 | 1 | |a Sobchack, Vivian, |e author. |4 aut |4 http://id.loc.gov/vocabulary/relators/aut | |
| 245 | 1 | 4 | |a The Address of the Eye : |b A Phenomenology of Film Experience / |c Vivian Sobchack. |
| 264 | 1 | |a Princeton, NJ : |b Princeton University Press, |c [2020] | |
| 264 | 4 | |c ©1992 | |
| 300 | |a 1 online resource (354 p.) | ||
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| 505 | 0 | 0 | |t Frontmatter -- |t Contents -- |t Figures -- |t Preface -- |t Acknowledgments -- |t CHAPTER ONE. Phenomenology and the Film Experience -- |t CHAPTER TWO. The Act of Being with One's Own Eyes -- |t CHAPTER THREE. Film's Body -- |t CHAPTER FOUR. The Address of the Eye -- |t Selected Bibliography -- |t Index |
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| 520 | |a Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both "mine" and "another's." In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture. | ||
| 538 | |a Mode of access: Internet via World Wide Web. | ||
| 546 | |a In English. | ||
| 588 | 0 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 30. Aug 2021) | |
| 650 | 0 | |a Motion pictures |x Philosophy. | |
| 650 | 7 | |a PERFORMING ARTS / Film & Video / History & Criticism. |2 bisacsh | |
| 653 | |a Baudry, Jean-Louis. | ||
| 653 | |a Derrida, Jacques. | ||
| 653 | |a Gestalt psychology. | ||
| 653 | |a Husserl, Edmund. | ||
| 653 | |a Ihde, Don. | ||
| 653 | |a Kennedy, John M. | ||
| 653 | |a Lebenswelt. | ||
| 653 | |a Madison, Gary. | ||
| 653 | |a Oedipal phase. | ||
| 653 | |a Symbolic order. | ||
| 653 | |a Tausk, Victor. | ||
| 653 | |a Wilden, Anthon. | ||
| 653 | |a attention. | ||
| 653 | |a blindness. | ||
| 653 | |a cinematic apparatus. | ||
| 653 | |a cyborg. | ||
| 653 | |a editorial structures. | ||
| 653 | |a embodied perception. | ||
| 653 | |a formalism. | ||
| 653 | |a hermeneutic relations. | ||
| 653 | |a introceptive image. | ||
| 653 | |a motion, cinematic. | ||
| 653 | |a phenomenological method. | ||
| 653 | |a point of view. | ||
| 653 | |a qualified essence. | ||
| 653 | |a transparency. | ||
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| 856 | 4 | 0 | |u https://degruyter.uam.elogim.com/isbn/9780691213279 |z Texto completo |
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