Refractions of reality: philosophy and the moving image
Saved in:
| Main Author: | |
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| Format: | Book |
| Language: | English |
| Published: |
London
Springer
2009
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| Series: | [BFI film-philosophy and media theory]
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| Subjects: | |
| Online Access: | Inhaltsverzeichnis Klappentext |
| Physical Description: | XVIII, 282 Seiten |
| ISBN: | 9781349280650 |
Staff View
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Record in the Search Index
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| adam_text | Contents Acknowledgements viii Preface: The Film-envy ofPhilosophy Who wants to be a philosopher anyway? Philosophical cinema or cinematic philosophy? Convergence on the film process: the élan cinématique Philosophy s perpetual identity crisis ix ix xi xiv xvi Introduction: Nobody Knows Anything! Oh, they both make such good arguments! The circular logic of paradigms and examples Between theory and post-theory Continental or analytic? Once more unto the breach Rapprochement or impasse? Film as relational process Towards a non-philosophical cinema Nobody knows everything: knowing, being and process 1 1 3 6 8 10 11 13 1 Illustrating Manuscripts 15 The meta-en-scène 15 The advent of high-concept cinema: once upon a premise18 Extreme pretexts 20 Philosophies through films 22 Gone to the movies 24 Conclusion 26 2 Bordwell and Other Cogitators Introduction: going back to the future Classical and art-house: hurray for Hollywood Messages are for Western Union Science, empiricism, culture Closely observed frames From reflection to refraction Play time Moving the continuum The representationalist axiom of analytic film-philosophy 29 29 33 35 40 42 46 48 52 55 3 Žižek and the Cinema of Perversion Good theorist, bad theorist: Bordwell contra Žižek Freudianism for beginners The return of the Real 58 58 61 64 V
vi Contents The film gaze Representationalism again: Žižek and the pre-cogs Traversing the fantasy or transcending the Real? The return of the Real to reality Films, time and time again Conclusion 4 Deleuze s Kinematic Philosophy Deleuze s ambivalence: philosophia sive cinema? Cinema’s concepts A non-reductive materialism From movement to time: images and signs Time regained Is cinema Bergsonian? Movement-image and time-image: when is a cut irrational? Films and their makers: from the automatic art to the autonomy of art Amongst the Deleuzians: a thousand tiny examples 5 Cavell, Badiou and Other Ontologists Cavell and the ontology of ordinary film The philosophical ordinary Reflections on the ontology of film Automatism of the medium Contra Deleuze? Modernism Reflexivity: film s other minds Other Cavellians More ontologies: Frampton s affective thinking Badiou s inessential cinema 67 68 70 71 74 75 78 78 80 84 87 92 97 100 104 107 110 110 111 114 117 118 120 121 123 126 129 6 Extended Cognitions and the Speeds of Cinema Anderson s elusive reality Branigan s radial camera When is a film? The cinematic event Nothing happening: events in the blink of an eye Bringing us up and down to speed 133 133 136 140 145 150 7 Fabulation, Process and Event Jacques Rancière s Film Fables Thoughts taken out of context Making movies and art with time Fabulating the film event Paradoxical feelings: moved by movements 156 156 163 169 173 180
Contents vii 8 Refractions of Reality, or, What is Thinking Anyway? Outline of an outline Affective embodiment New mediations Differential spectatorship Sound and false fidelity Acting realism Animal cinema A non-philosophy of cinema What is thinking (again)? 188 188 191 193 197 198 199 201 204 208 Conclusion: Code Unknown - A Bastard Theory for a Bastard Art In praise of being unphilosophical Filmology: from unknowing to pluriknowing Beyond coprology 214 214 215 217 Notes 219 Bibliography 261 Index 273
This book, in some sense, brings to an end a certain phase of film theorizing and instead looks toward something quite new: how theories have been written and how they may be written, how they fall into types, how these types are filling out not a logical grid but a grid of the anxieties we feel, and the defenses we erect toward the everyday. A wonderful, ground-breaking book,’ — Edward Branigan (University of California, Santa Barbara), author of Projecting a Camera: Language- Games in Film Theory and Narrative Comprehension and Film Highly original both in its concern for avoiding the illustrative approach generally favoured by philosophers, and in the speculative ambition that looms behind the critical edge of its readings of contemporary film- philosophers. The very question when does the film itself happen? is a fundamental one, which is rarely addressed. Mullarkey is opening the door to a brand new type of philosophical engagement with films, — Elie During (Université de Paris X-Nanterre), author of Matrix: Machine philosophique Why is film becoming increasingly important to philosophers? Is it because it can be a helpful tool in teaching philosophy, in illustrating it? Or is it because film can also think for itself, can create its own philosophy? Indeed, many film-philosophers claim that film does more than merely illustrate philosophical texts: rather, film itself can philosophize in direct audio-visual terms. Too often, however, when philosophers claim to find indigenous philosophical value in cinema, it is only on account of refracting it through their own
thought: film philosophizes because it accords with a favoured kind of extant philosophy. Refractions ofReality: Philosophy and the Moving Image is the first book to examine all the central issues surrounding the vexed relationship between the film-image and philosophy. In it, John Mullarkey tackles the work of particular philosophers and theorists (Žižek, Deleuze, Cavell, Bordwell, Badiou, Branigan, Rancière, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Psychoanalytic and Phenomenological). Moreover, he also offers an incisive analysis and explanation of several prominent forms of film theorizing, providing a meta logical account of their mutua! advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising and re-visioning the field of fílm theory as a whole. Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. In particular: must philosophy (and theory) always transform film into pre-texts for illustration? What would it take to imagine how film might itself theorize without reducing it to standard forms of thought and philosophy? Finally, and fundamentally, must we change our definition of philosophy and even of thought itself in order to accommodate the specificities that come with the claim that film can produce philosophical theory? John Mullarkey teaches Philosophy at the University of Dundee, Scotland, UK. His publications include Bergson
and Philosophy (1999) and Post-Continental Philosophy: An Outline (2006). He is an editor of Film-Philosophy.com.
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| any_adam_object | 1 |
| author | Mullarkey, John |
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| discipline | Allgemeines Philosophie |
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| spelling | Mullarkey, John Verfasser aut Refractions of reality philosophy and the moving image John Mullarkey London Springer 2009 XVIII, 282 Seiten txt rdacontent n rdamedia nc rdacarrier [BFI film-philosophy and media theory] Motion pictures - Philosophy Film Philosophie Motion pictures Philosophy Film (DE-588)4017102-4 gnd rswk-swf Philosophie (DE-588)4045791-6 gnd rswk-swf Film (DE-588)4017102-4 s Philosophie (DE-588)4045791-6 s DE-604 Erscheint auch als Online-Ausgabe 978-0-230-58231-6 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031700441&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031700441&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
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| title | Refractions of reality philosophy and the moving image |
| title_auth | Refractions of reality philosophy and the moving image |
| title_exact_search | Refractions of reality philosophy and the moving image |
| title_full | Refractions of reality philosophy and the moving image John Mullarkey |
| title_fullStr | Refractions of reality philosophy and the moving image John Mullarkey |
| title_full_unstemmed | Refractions of reality philosophy and the moving image John Mullarkey |
| title_short | Refractions of reality |
| title_sort | refractions of reality philosophy and the moving image |
| title_sub | philosophy and the moving image |
| topic | Motion pictures - Philosophy Film Philosophie Motion pictures Philosophy Film (DE-588)4017102-4 gnd Philosophie (DE-588)4045791-6 gnd |
| topic_facet | Motion pictures - Philosophy Film Philosophie Motion pictures Philosophy |
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