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25 Remote Warehouse Film and Television- History and Criticism

The Address of the Eye: A Phenomenology of Film Experience

by

The Address of the Eye: A Phenomenology of Film Experience Cover

 

Synopses & Reviews

Publisher Comments:

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both "mine" and "another's." In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.

Synopsis:

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two 'viewers' viewing: the spectator and the film, each existing as both subject and object of vision.

Synopsis:

A professor of theater arts shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both "mine" and "another's". In this attempt to account for cinematic intellegibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.

Product Details

ISBN:
9780691008745
Subtitle:
A Phenomenology of Film Experience
Author:
Sobchack, Vivian
Publisher:
Princeton University Press
Location:
Princeton
Subject:
General
Subject:
Philosophy
Subject:
Film - General
Subject:
Film - History & Criticism
Subject:
Film & Video - History & Criticism
Subject:
Film Studies
Subject:
Film and Television-History and Criticism
Copyright:
Edition Description:
Trade paper
Publication Date:
March 1992
Binding:
Paperback
Grade Level:
College/higher education:
Language:
English
Pages:
354
Dimensions:
9.12x5.94x.86 in. 1.16 lbs.

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Related Subjects

Arts and Entertainment » Film and Television » Film History and Theory
Arts and Entertainment » Film and Television » History and Criticism
Children's » General
Health and Self-Help » Psychology » General
Reference » Science Reference » Technology

The Address of the Eye: A Phenomenology of Film Experience New Trade Paper
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Product details 354 pages Princeton University Press - English 9780691008745 Reviews:
"Synopsis" by , Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two 'viewers' viewing: the spectator and the film, each existing as both subject and object of vision.
"Synopsis" by , A professor of theater arts shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both "mine" and "another's". In this attempt to account for cinematic intellegibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.
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