This book analyzes film experience through the lens of Baruch Spinoza's embodied philosophy. Spinoza's philosophy allows us to appreciate and master sad passions and, at the same time, to show the conceptual power of film experience.
This book analyzes film experience through the lens of Baruch Spinoza's embodied philosophy. Spinoza's philosophy allows us to appreciate and master sad passions and, at the same time, to show the conceptual power of film experience.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Francesco Sticchi obtained a Ph.D in Film Studies at Oxford Brookes University under the supervision of Dr Warren Buckland. He works as Associate Lecturer in the same institution, and his research concerns the study of sad passions in audiovisual experience, and the relation between Spinoza's thought and embodied cognitive theories. He is also interested in an experiential and interactive use of Mikhail Bakhtin's Chronotope, and he is currently working on an affective-ethical approach to analyse how contemporary media culture addresses the concept of precarity.
Inhaltsangabe
Introduction Part 1 Philosophical Models and Interpretative Instruments 1 From Spinoza to the Embodied Mind A Radical Notion of Immanence The Embodied Mind Body Concepts and Idealised Cognitive Models Metonymical and Metaphorical Blending Emotions and the Imitation of the Affects Sad Passions and Knowledge as the Most Powerful of the Affects Summary and Conclusions Part 2 A Spinozian-Experiential Theory of Film 2 A Spinozian Re-Evaluation of Cognitive Film Theory Top-Down Processes and Cognitive Semiotics The Ecological Psychology of Film Engaging Film Characters Scenarios, Moods, and the Imaginative Dynamics of Involvement Embodied Simulation and Films Experiential Perspectives on Film Analysis Conclusions 3 A Spinozian Philosophy of Film Experience The Relation between Philosophy and Cinema Film Are Percepts The Issue of Trauma and Sad Passions in Film Experience Summary and Conclusions: The Experiential Viewer and Her/His Possibilities Part 3 Case Studies: Four Melancholic Films 4 A Contemporary Job: A Serious Man 5 The World Shatters: Melancholia 6 Mastering Genocide: The Act of Killing 7 Time Is a Flat Circle: Only Lovers Left Alive Conclusions Bibliography Index
Introduction Part 1 Philosophical Models and Interpretative Instruments 1 From Spinoza to the Embodied Mind A Radical Notion of Immanence The Embodied Mind Body Concepts and Idealised Cognitive Models Metonymical and Metaphorical Blending Emotions and the Imitation of the Affects Sad Passions and Knowledge as the Most Powerful of the Affects Summary and Conclusions Part 2 A Spinozian-Experiential Theory of Film 2 A Spinozian Re-Evaluation of Cognitive Film Theory Top-Down Processes and Cognitive Semiotics The Ecological Psychology of Film Engaging Film Characters Scenarios, Moods, and the Imaginative Dynamics of Involvement Embodied Simulation and Films Experiential Perspectives on Film Analysis Conclusions 3 A Spinozian Philosophy of Film Experience The Relation between Philosophy and Cinema Film Are Percepts The Issue of Trauma and Sad Passions in Film Experience Summary and Conclusions: The Experiential Viewer and Her/His Possibilities Part 3 Case Studies: Four Melancholic Films 4 A Contemporary Job: A Serious Man 5 The World Shatters: Melancholia 6 Mastering Genocide: The Act of Killing 7 Time Is a Flat Circle: Only Lovers Left Alive Conclusions Bibliography Index
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