by Tiago de Luca In this article I want to explore the way in which the global can be imagined in the cinema by taking up the concept of cognitive mapping as proposed by Marxist cultural theorist Fredric Jameson. I argue that the totalising remit of the concept offers an especially productive avenue through which […]
by Julian Hanich Introduction Vivian Sobchack, born in 1940 in New York City, is one of the most influential American film theorists of the last 25 years. At the beginning of the 1990s she was the main driving force behind the recuperation of phenomenology as a viable methodology in film studies with her book The […]
by Christian Ferencz-Flatz
In the following I will first sketch out a phenomenological interpretation of Walter Benjamin’s reflections on film-viewership, which he considers to be symptomatic for contemporary perception in general, by focusing especially on the implicit theory of intersubjectivity that underpins them.
The provisional programme for the Centre for Film Studies symposium ‘Texture in Film’, 9 March 2013, University of St Andrews, has been announced. Registration is currently open for the event here. This symposium will seek to explore ways in which thinking about texture can reinvigorate discussion of film form across a variety of cinematic contexts, […]
The new issue of Cinema: Journal of Philosophy and the Moving Image has been published online. The special focus of this issue is ‘Embodiment and the Body’ and it was edited by Patrícia Silveirinha Castello Branco. Included in this issue is the article ‘Upside-down cinema: (Dis)simulation of the body in the film experience’ by Adriano […]
by Adriano D’Aloia The constitution of a spatial level is simply one means of constituting an integrated world: my body is geared onto the world when my perception presents me with a spectacle as varied and as clearly articulated as possible, and when my motor intentions, as they unfold, receive the responses they expect from […]
by Katharina Lindner A phenomenological description of the cinematic situation considers the film as a lived body. Just as the human lived body forms the basis for intentionality, perception, expression and action in the world, the film’s body – its technological and instrumental dimension – forms the basis for the films perceptual and expressive engagement […]