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

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

Hunter Vaughan


Hunter Vaughan interweaves phenomenology and semiotics to investigate cinema's skill to problem traditional modes of inspiration. Merging Maurice Merleau-Ponty's phenomenology of notion with Gilles Deleuze's image-philosophy, Vaughan applies a wealthy theoretical framework to a comparative research of Jean-Luc Godard's motion pictures, which critique the audio-visual phantasm of empirical remark (objectivity), and the cinema of Alain Resnais, during which the sound-image generates cutting edge portrayals of person event (subjectivity). either filmmakers greatly upend traditional movie practices and problem philosophical traditions to change our figuring out of the self, the realm, and the connection among the 2. movies mentioned intimately contain Godard's Vivre sa vie (1962), Contempt (1963), and 2 or three issues i do know approximately Her (1967); and Resnais's Hiroshima, mon amour (1959), Last yr at Marienbad (1961), and The warfare Is Over (1966). Situating the formative works of those filmmakers inside a broader philosophical context, Vaughan pioneers a phenomenological movie semiotics linking disparate methodologies to the reflected achievements of 2 possible irreconcilable artists.

Show sample text content

Download sample