Philosophy in Stan Brakhage's Dog Star Man (eBook)

Alberto Baracco conducts research on film, film philosophy and film ecocriticism at the University of Torino, Italy.  

Chapter 1 - Introduction1.1     Theoretical Aspects and Possible Perspectives in Film Philosophy 1.2     Film Worlds Theory1.3     Ricœurian Hermeneutics of the Film World1.4     Some Preliminary Conclusions Chapter 2 - DSM and Philosophy2.1     DSM Through Ricœurian Hermeneutics2.2     The Process of Interpretation2.2.1          Phase 1: Understanding DSM’s Film World2.2.2          Phase 2: Explaining DSM’s Film World2.2.3          Phase 3: Critical Understanding of DSM’s Film World2.2.4          Structure and Schemata2.3     DSM as Film World Chapter 3 - Understanding DSM’s Film World3      3.1     Initial Guess: Pure Visual Perception3.2     Symbolic Elements of the Film World3.3     DSM as Poetry of Vision3.3.1          The Rhetorical-Stylistic Structure of DSM3.3.2          The Rhythmic Structure of DSM3.4     DSM as Epic Mythology3.4.1          The Genesis3.4.2          The Conflict3.4.3          The Innocence3.4.4          The Desire3.4.5          The Death Chapter 4 - Explaining DSM’s Film World4      5      6      4.1     Origin of the Film World: Deren, Duncan and Brakhage’s Heterodoxy4.2     History of Interpretations: Camper and Sitney4.3     Exegesis of Symbolic Meanings: Between Poetry and Myth 4.3.1     Poetry of Vision4.3.2     Epic Mythology4.4     Conflict of Interpretations: Is an Analytical Approach to DSM appropriate? Chapter 5 - Critical Understanding of DSM’s Film World5      6      7      8      5.1     Critical Understanding of Interpretation: Further Clues on DSM’s Film World 5.2     Critical Understanding of Interpreter: Mythopoesis 5.3     Critical Understanding of Film Philosophy: Rejection of Logocentric Metaphysics Chapter 6 - Conclusion6      7      8      9      10      6.1     A Summary of our Journey into DSM’s Film World 6.2     A Last Remark on Ricœurian Film Hermeneutics