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Where Film Meets Philosophy
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Vaughan's discussions of the films of Resnais and Godard are incisive and engaging, providing welcome relief from the difficulties of abstruse philosophical debates, offering clarification of the practical implications of their theoretical points, and enriching abstract concepts via a penetrating treatment of the specific techniques of film form as, in themselves, modes of thought with far-reaching conceptual implications. -- Ronald Bogue, author of Deleuzian Fabulation and the Scars of History A superb new contribution to film-philosophy. With wonderful insight, rigor, creativity, and verve, Vaughan draws on Merleau-Ponty and Deleuze to critically examine how film form can be aligned with thinking and to question what this might mean for our engagement with the world. This standout book makes an important intervention into both recent discussions in film studies and longer running philosophical debates. -- David Martin-Jones, author of Deleuze and World Cinemas

Table of Contents

List of Illustrations Acknowledgments Introduction: Where Film Meets Philosophy 1. Phenomenology and the Viewing Subject 2. Film Connotation and the Signified Subject 3. Sound, Image, and the Order of Meaning 4. Alain Resnais and the Code of Subjectivity 5. Jean-Luc Godard and the Code of Objectivity Conclusion: Where Film and Philosophy May Lead Notes Bibliography Index

About the Author

Hunter Vaughan is assistant professor of English and cinema studies at Oakland University. His scholarly interests include the moving image, philosophy, and the environment.

Reviews

Vaughan's brilliant book places him on the cutting edge of contemporary studies that blend film and philosophy. Reconstructing and clarifying how film-philosophy renders fresh insight into the revolutionary potential of the moving film image, Vaughan opens a new dimension to thought and action. -- Sam B. Girgus, Vanderbilt University Where Film Meets Philosophy begs us to think about what we are seeing on the screen and why. Hunter Vaughan compels us to look afresh at Resnais and Godard for the sake of leading film theory in new directions. This book is a rewarding study that brings postwar philosophy into a shared legacy of cinema. -- Tom Conley, Harvard University

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