As the author himself points out, his approach has a number of antecedents in the history of film theory, but such a position has never been defended with the theoretical power and the illustrative detail that is contained in this remarkable volume. George M. Wilson, University of Southern California Filmosophy offers a sympathetic and persuasive argument in favour of a new engagement with film which sweeps aside the shibboleths of current film studies and returns the spectator to a position of empathetic involvement with the filmgoing experience, mapping out a poetic-philosophical approach so different from the prosaic aridity of much writing on film.
There is no doubting the originality of Filmosophy , or the fact that it constitutes a major contribution to the philosophy of film. Tom Conley, Harvard Unviersity Frampton seeks to transform audiences from passive viewers into active co-creators of the cinematic experience, while leveling a withering critique of the cognitivism that dominates Anglo-American philosophy of film.
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His neologisms are both witty and to the point, and his film readings are not to be missed. Gritty, impassioned and engaged, Filmosophy challenges its readers to think afresh their experience in the cinema. Emma Wilson, Corpus Christi College, Cambridge University The eloquent Filmosophy by Daniel Frampton aspires to become, as one learns from its subtitle — a manifesto for a radically new way of understanding cinema. Tereza Hadravova, Vertigo Filmosophy truly lays down an outline as well as a clear start off point for a new way of thinking about cinematic images.
Ils Huygens, Scope The excitement of these pages is breathtaking, for the reader genuinely feels on the path to uncovering an understanding of film that is significant and radically destabilizing destabilizing in a profoundly positive way. Robert Sinnerbrink, Projections.
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Acknowledgements Introduction Part One 1. Film Minds 2. What kind of world does it show? Why is it both strange and familiar? What does its separateness and its closeness reveal?
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We all enjoy film fictions — these unmessy, streamlined stories — partly because we live a bad wondering script that seems to take a lifetime to get going perhaps we all secretly want to live a film-life. And I am quite happy to admit that going to the cinema can be a classic wish for escape — a daydream drug. The expectation as you arrive and take your seat is part of the pleasure: it is an expectation of enjoyment, of gaining knowledge, of aesthetic rejuvenation, of spectacle and forgetting.
And when I leave the cinema I personally often feel drained and confused, almost disconnected, if only for a few moments. Reality now appears random, structureless, chaotic. This blinking return from another world is an experience in itself — bearings are found and sustenance is sought usually at the nearest pub. It takes time for the film to leave my head; and it takes time for reality to become real again — time for my mind and body to re-adjust.
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But some films have a longer, lingering effect: not always an altering, transfiguration of reality, but a gentle continuing inhabitation of our perceptions. Life outside the cinema is released, illuminated, freed-up. Time is elongated and movements magnified — my perceptions become images: my eyes become cameras, unafraid to lock onto faces or scenes or moments.
Film reveals reality, exactly by showing a distorted mirror of it. Film transforms the recognisable in a small or large way , and this immediate transfiguration provokes the idea that our thinking can transform our world. Why do we feel this way? What does film do to create this feeling? It appears that film, in some of its forms, can rejig our encounter with life, and perhaps even heighten our perceptual powers. Cinema allows us to re-see reality, expanding our perceptions, and showing us a new reality. Film challenges our view of reality, forcing a phenomenological realisation about how reality is perceived by our minds.
It is the unique way that film takes and refigures reality that seems to be behind this effect on the filmgoer. Writers always pose the relationship, but then find they need to stretch it out of all recognition. It is exactly this difference that makes the film an art. In his book The World Viewed the American philosopher Stanley Cavell reminds us that part of the reason we enjoy cinema so much is simply because we have a natural wish to see the world recreated and retold in its own image.
He continues by asking whether film is a recording of a past performance, or a performance of an always present recording. How can this be if we accept that the film itself is present?
It is a world of an immediate future. An author with a similar outlook to Cavell is the English film theorist V. The obvious point to make here is that nowadays it is hard to find a film that does not include some images of places or people that were never in front of the camera digital stand-ins, imaginary backdrops, computer-designed buildings. Film is no longer a question of automatic photography — even without considering the classic artistry of the simple choice of angle, exposure, and so forth — and to generalise that the film-world is a simple copy of reality seems limiting.
Yes film uses the real; but it takes it and immediately moulds it and then refigures it and puts it back in front of the filmgoer as interpretation, as re-perception. Film recording technology automatically changes reality, and the filmmaker artistically refigures reality. Locking all film to reality disenfranchises the possibilities of film poetry by conceptually limiting the routes of film style and world.
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To get the most out of film, we might acknowledge that film is not of the world, film is a world a new world. Film is not simply a reproduction of reality, it is its own world with its own intentions and creativities. Cinema is the projection, screening, showing, of thoughts of the real. Film is its own world with its own rules and philosophy should certainly learn from its fluid re-situating of experience and knowledge.
There is no doubt that most cinema starts with a recording of reality, but the argument here is that the filmgoer would be impoverished by understanding cinema only in relation to the reality it records.
It will surely become more and more tiring to continually compare and contrast the increasingly fluid world of cinema to our own reality. Film might now be understood as creating its own world, free to bring us any scene or object it wishes. Film becomes less a reproduction of reality than a new reality, that merely sometimes looks like our reality can be different like film noir, or different like the other world of Star Wars: Episode 1 — The Phantom Menace. Film moves away from reality, and towards the mind.
It is the mind that creates this transfiguration, recreating the world in its own form.
Film should therefore be seen as its own imagination even when it initially looks normal and realistic. Films have a different space, a space that resembles reality, but flat and bordered. The frame of film makes for a rational space — a decided, intended space — with rational and non-rational thinkings.
Through cinema man was able to control reality. Film can thus be seen as an incredibly unique and therefore important link between man and world: film becomes the explanation of our position in the world — film acts out an interaction with a world, which thus becomes a mirror for us to recognise our interaction with our world. This acting out is a kind of intention, a kind of thought. The film-world is an ordered and thought-out world — characters meet and move on and love and die and find themselves, all in about two hours flat. Filmosophy is a study of film as thinking, and contains a theory of both film-being and film form.
Filmosophy proposes that seeing film form as thoughtful, as the dramatic decision of the film, helps us understand the many ways film can mean and affect. To creatively and positively handle these new forms film studies needs a conception of film-world creation, and a descriptive language of film style, that are both adaptable and poetic.
That is, the filmgoer can decide to use it as part of their conceptual apparatus while experiencing a film — they would then see the film through this concept. Sign in to Purchase Instantly.
Overview Filmosophy is a provocative new manifesto for a radically philosophical way of understanding cinema. About the Author Daniel Frampton is a London-based writer and filmmaker and the founding editor of the online salon-journal, Film-Philosophy. Filmosophy Conclusion Notes Bibliography Index. Show More. Average Review. Write a Review. Related Searches. Addressing Racial Disproportionality and Disparities in Human.
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