This interdisciplinary study explores the relevance and application of Martin Heidegger's phenomenology to key issues in the philosophy film. It develops a comprehensive look at how Heidegger's thought illuminates historical and contemporary problems the film medium poses to philosophers.
This interdisciplinary study explores the relevance and application of Martin Heidegger's phenomenology to key issues in the philosophy film. It develops a comprehensive look at how Heidegger's thought illuminates historical and contemporary problems the film medium poses to philosophers.
Shawn Loht is institutional researcher at Baton Rouge Community College.
Inhaltsangabe
Preface Acknowledgements Chapter One: Precis to a Heideggerian Phenomenology of Film Chapter Two: Heidegger's Being and Time: Film Experience as Being-in-the-World Chapter Three: Film and Heidegger's Philosophy of Art Chapter Four: Phenomenology and the Concept of Film-as-Philosophy Chapter Five: Terrence Malick Chapter Six: Michael Haneke's Code Unknown and The White Ribbon Chapter Seven: David Gordon Green's Joe, and an Afterword Bibliography
Preface Acknowledgements Chapter One: Precis to a Heideggerian Phenomenology of Film Chapter Two: Heidegger's Being and Time: Film Experience as Being-in-the-World Chapter Three: Film and Heidegger's Philosophy of Art Chapter Four: Phenomenology and the Concept of Film-as-Philosophy Chapter Five: Terrence Malick Chapter Six: Michael Haneke's Code Unknown and The White Ribbon Chapter Seven: David Gordon Green's Joe, and an Afterword Bibliography
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