Philosophy in Stan Brakhage's Dog Star Man
Springer International Publishing (Verlag)
978-3-030-12428-1 (ISBN)
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This book shows how a masterpiece of experimental cinema can be interpreted through hermeneutics of the film world. As an application of Ricoeurian methodology to a non-narrative film, the book calls into question the fundamental concept of the film world. Firmly rooted within the context of experimental cinema, Stan Brakhage's Dog Star Man was not created on the basis of a narrative structure and representation of characters, places and events, but on very different presuppositions. The techniques with which Brakhage worked on celluloid and used frames as canvases, as well as his choice to make the film without dialogue and sound, exhort the interpreter to directly question the philosophical language of moving images.
lt;p>Alberto Baracco conducts research on film, film philosophy and film ecocriticism at the University of Torino, Italy.
Chapter 1 - Introduction
1.1 Theoretical Aspects and Possible Perspectives in Film Philosophy
1.2 Film Worlds Theory1.3 Ricoeurian Hermeneutics of the Film World1.4 Some Preliminary Conclusions
Chapter 2 - DSM and Philosophy
2.1 DSM Through Ricoeurian Hermeneutics2.2 The Process of Interpretation
2.2.1 Phase 1: Understanding DSM's Film World
2.2.2 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 World
3
3.1 Initial Guess: Pure Visual Perception
3.2 Symbolic Elements of the Film World
3.3 DSM as Poetry of Vision
3.3.1 The Rhetorical-Stylistic Structure of DSM3.3.2 The Rhythmic Structure of DSM3.4 DSM as Epic Mythology
3.4.1 The Genesis3.4.2 The Conflict3.4.3 The Innocence3.4.4 The Desire3.4.5 The DeathChapter 4 - Explaining DSM's Film World
4 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 World
5 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 MetaphysicsChapter 6 - Conclusion
6 7 8 9 10 6.1 A Summary of our Journey into DSM's Film World6.2 A Last Remark on Ricoeurian Film Hermeneutics
| Erscheinungsdatum | 07.07.2020 |
|---|---|
| Zusatzinfo | XVIII, 144 p. 46 illus., 32 illus. in color. |
| Verlagsort | Cham |
| Sprache | englisch |
| Maße | 148 x 210 mm |
| Themenwelt | Geisteswissenschaften ► Philosophie ► Erkenntnistheorie / Wissenschaftstheorie |
| Geisteswissenschaften ► Philosophie ► Philosophie der Neuzeit | |
| Sozialwissenschaften ► Kommunikation / Medien ► Medienwissenschaft | |
| Schlagworte | Experimental Cinema • Film Studies • Paul Ricouer • Philosophy of film • Stan Brakhage |
| ISBN-10 | 3-030-12428-2 / 3030124282 |
| ISBN-13 | 978-3-030-12428-1 / 9783030124281 |
| Zustand | Neuware |
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