Film Phenomenologies
Edinburgh University Press (Verlag)
978-1-3995-2813-9 (ISBN)
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With an interdisciplinary agenda, Film Phenomenologies investigates the emerging field of film phenomenology, linking the fundamental significance of early thinkers and related methods of phenomenological investigation to newer emphases and diverse voices, such as Gaston Bachelard, Karen Barad, Simone de Beauvoir, bell hooks, Iris Murdoch and Hermann Schmitz.
Established scholars consider various themes, including colonial duration and the politics of refusal, feeling feminist time, the exchange of play, scalar theory and scattered bodies, spectatorship and the entanglement of montage, disability, dance and speculative embodiment, AI phenomenology and breath gestures, cinematic atmospheres, the precarious intimacy of the film screen, stardom and biopics, and Black lived experience.
Divided into three parts, Film Phenomenologies offers a collective combination of phenomenological approaches, braiding classic and critical methods to explore aesthetic, embodied, ethical, and political perspectives. It is the first collection to provide a substantial engagement with diverse and inclusive directions in the field of film and media studies.
Kelli Fuery is Professor of Creative and Cultural Industries in Wilkinson College of Arts, Humanities and Social Sciences at Chapman University, California. She is the author of five books, including Ambiguous Cinema: From Simone de Beauvoir to Feminist Film-Phenomenology and Wilfred Bion, Thinking and Emotional Experience with Moving Images. Her next project examines Bion’s notion of the bizarre object and interconnected themes of hallucination, phenomenology and virtuality.
Introduction: Toward A Critical Phenomenology of "Film Work" - Kelli Fuery
Part 1: Temporality
The Psychology and Phenomenology of Play in Céline Sciamma’s Petite Maman - Kate Ince
Phenomenology in the Kitchen: Feeling Time Like a Feminist - Lori Marso
For a Critical Phenomenology of Montage: John Akomfrah’s Vertigo Sea—With Maurice Merleau-Ponty and Karen Barad - Domietta Torlasco
The khôra-screen: Responsibility as a Precarious Intimacy in Agnès Varda’s One Sings, The Other Doesn’t - Kelli Fuery
Part 2: Embodiment
Human as Cosmos in Bill Viola’s Five Angels for the Millennium: The Scattered Body of Scalar Configurations - Elena del Río
The Posthumous Phenomenology of the Star Biopic: Kristen Stewart as Jean Seberg in Seberg - Lucy Bolton
The Assassination of Marilyn Monroe by the Coward Andrew Dominik: An Existentialist Phenomenology of Cinematic Imagination - David Sorfa
Eco Soma Methods and Disability Film Dance: Moving, Stumbling, Sliding - Petra Kuppers
Echoing Images: Dark Reverberation and the Bachelardian Imagination of Folk Horror in Alex Garland’s Men - Saige Walton
Part 3: Transformation
‘A Braid of Partial Syntheses’: Husserl’s Redetermination and the Visual Excess of the (K)not - Patrick Fuery
New Phenomenological Approaches to Affect, Mood, and Atmospheres - Robert Sinnerbrink
Swimming in Moonlight: On Viewing Black Masculinity Differently with bell hooks - Qrescent Mali Mason
AI Phenomenology: Breath, Machine Learning, and Husserl, Polanyi, and Grosz’s Relational Kinaesthesia - Lisa Müller-Trede
| Erscheint lt. Verlag | 31.3.2026 |
|---|---|
| Zusatzinfo | 26 black and white illustrations |
| Verlagsort | Edinburgh |
| Sprache | englisch |
| Maße | 156 x 234 mm |
| Themenwelt | Kunst / Musik / Theater ► Film / TV |
| Sozialwissenschaften ► Kommunikation / Medien ► Medienwissenschaft | |
| ISBN-10 | 1-3995-2813-0 / 1399528130 |
| ISBN-13 | 978-1-3995-2813-9 / 9781399528139 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
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