Transcendence and Film
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€40.99
A32=Allan Casebier
A32=David P. Nichols
A32=Dylan James Trigg
A32=Frédéric Seyler
A32=Herbert Golder
A32=Jason M. Wirth
A32=John B. Brough
A32=Joseph Westfall
A32=K. Malcolm Richards
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Alain Badiou
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B01=David P. Nichols
Category1=Non-Fiction
Category=APFA
Category=ATFA
Category=HP
Category=JBCT
Category=JFCX
Category=JFD
Category=QDHR
continental philosophy
COP=United States
cultural studies
David Cronenberg
David Lynch
Delivery_Delivery within 10-20 working days
Edmund Husserl
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
existenialism
Federico Fellini
film criticism
film philosophy
film studies
film theory
Friedrich Nietzsche
Gilles Deleuze
Jean-Paul Sartre
Karl Jaspers
Karl Theodor Dreyer
Language_English
Martin Heidegger
Martin Scorsese
Maurice Merleau-Ponty
metaphysics
Michel Henry
movies
PA=Available
phenomenology
philosophy of art
philosophy of film
Price_€20 to €50
PS=Active
softlaunch
Soren Kierkegaard
Stanley Kubrick
Terrence Malick
Werner Herzog
Yasujiro Ozu
Product details
- ISBN 9781498580014
- Weight: 290g
- Dimensions: 154 x 224mm
- Publication Date: 05 Apr 2023
- Publisher: Bloomsbury Publishing Plc
- Publication City/Country: US
- Product Form: Paperback
- Language: English
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In this edited collection of essays, ten experts in film philosophy explore the importance of transcendence for understanding cinema as an art form. They analyze the role of transcendence for some of the most innovative film directors: David Cronenberg, Karl Theodor Dreyer, Federico Fellini, Werner Herzog, Stanley Kubrick, David Lynch, Terrence Malick, Yasujiro Ozu, and Martin Scorsese. Meanwhile they apply concepts of transcendence from continental philosophers like Alain Badiou, Gilles Deleuze, Martin Heidegger, Michel Henry, Edmund Husserl, Karl Jaspers, Søren Kierkegaard, Maurice Merleau-Ponty, Friedrich Nietzsche, and Jean-Paul Sartre. Each of the ten chapters results in a different perspective about what transcendence means and how it is essential to film as an art medium. Several common threads emerge among the chapters. The contributors find that the limitations of human existence are frequently made evident in moments of transcendence, so as to bring characters to the margins of their assumed world. At other times, transcendence goes immanent, so as to emerge in experiences of the surprising nearness of being, as though for a radical intensification of life. Film can also exhibit “ciphers of transcendence” whereby symbolic events open us to greater realizations about our place in the world. Lastly, the contributors observe that transcendence occurs in film, not simply from isolated moments forced into a storyline, but in a manner rooted within an ontological rhythm peculiar to the film itself.
David P. Nichols is associate professor of philosophy at Saginaw Valley State University.
