In Film and Phenomenology, Allan Casebier develops a theory of representation first indicated in the writings of the father of phenomenology, Edmund Husserl, and then applies it to the case of cinematic representation. This work provides one of the clearest expositions of Husserl's highly influential but often obscure thought. It also demonstrates the power of phenomenology to ...
In Film and Phenomenology, Allan Casebier develops a theory of representation first indicated in the writings of the father of phenomenology, Edmund Husserl, and then applies it to the case of cinematic representation. This work provides one of the clearest expositions of Husserl's highly influential but often obscure thought. It also demonstrates the power of phenomenology to illuminate the experience of the art form unique to the twentieth-century cinema. Film and Phenomenology is intended as an antidote to all hitherto existing theories about the nature of cinematic representation, whether issuing from classic sources such as the film theory of Andre Bazin or the post-structuralist synthesis of Lacanian psychoanalysis, Barthesian textual analysis and Metzean cine-semiotics. Casebier shows how a phenomenological account of representation will further the aims of any film theory. Developing a viable feminist film theory, legitimising the documentary, answering the challenge of Derridean deconstruction, properly theorising narrativity, Film and Phenomenology argues that theory of film must be Realist both with respect to epistemology and ontological issues. In this way, this work runs contrary to the whole course of contemporary film theory, which has been deeply anti-Realist.
Ontology is the inquiry into the nature of being and existence. Epistemology is the inquiry into knowledge of being and existence. In each of these inquiries choices have to be made among possible positions, and justification has to be given for the choices. In contemporary film theory these conditions have not been satisfied. (查看原文)
With respect to ontology, contemporary film theory has adopted a nominalist rather than a realist position. In ontology, a theorist must hold either that only particulars exist or that particulars and universe a l exist. Contemporary film theory has opted for there being only particulars with spectators' constructive activity providing the cinematic representations. In linking the nominalist ontology of Nelson Goodman to the analysis of cinematic representation, J. Dudley Andrew says: "There is no primary real world which we subsequently subject to various types of representation [Goodman contends]. Rather it makes far more sense to speak of multiple worlds which individuals construct. (查看原文)
0 有用 Manchild 2012-04-22 13:48:49
我一直在想牛津、剑桥不待见文化研究反倒在电影研究里强调哲学研究和现象学的方法是不是维持它们贵族教育的传统（当然也有一些美国大学），这事儿还被一些香港人拿来说去年孔庆东骂人事件，感觉搞文化研究的都是学术暴发户一样用来兜售理论的，回来把香港搞得乌七八糟。当然，那篇文章是有点傻逼，不过我在想其中的焦虑很大程度上就是这本书里提到的关于现代电影理论建立在后现代理论和极端唯名论的不稳定基础上，用Roger的话... 我一直在想牛津、剑桥不待见文化研究反倒在电影研究里强调哲学研究和现象学的方法是不是维持它们贵族教育的传统（当然也有一些美国大学），这事儿还被一些香港人拿来说去年孔庆东骂人事件，感觉搞文化研究的都是学术暴发户一样用来兜售理论的，回来把香港搞得乌七八糟。当然，那篇文章是有点傻逼，不过我在想其中的焦虑很大程度上就是这本书里提到的关于现代电影理论建立在后现代理论和极端唯名论的不稳定基础上，用Roger的话说后现代理论就是唯名论走到的极端，而现象学的方法是反思这个理论基础。 (展开)