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- DescriptionHunter Vaughan interweaves phemelogy and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phemelogy of perception with Gilles Deleuze's image-philosophy, Vaughan applies a rich theoretical framework to a comparative analysis of Jean-Luc Godard's films, which critique the audio-visual illusion of empirical observation (objectivity), and the cinema of Alain Resnais, in which the sound-image generates invative portrayals of individual experience (subjectivity). Both filmmakers radically upend conventional film practices and challenge philosophical traditions to alter our understanding of the self, the world, and the relationship between the two. Films discussed in detail include Godard's Vivre sa vie (1962), Contempt (1963), and 2 or 3 Things I Kw About Her (1967); and Resnais's Hiroshima, mon amour (1959), Last Year at Marienbad (1961), and The War Is Over (1966). Situating the formative works of these filmmakers within a broader philosophical context, Vaughan pioneers a phemelogical film semiotics linking two disparate methodologies to the mirrored achievements of two seemingly irreconcilable artists.
- Author BiographyHunter Vaughan is assistant professor of English and cinema studies at Oakland University. His scholarly interests include the moving image, philosophy, and the environment.
- Author(s)Hunter Vaughan
- PublisherColumbia University Press
- Date of Publication22/02/2013
- SubjectFilm, TV & Radio
- Series TitleFilm and Culture Series
- Place of PublicationNew York
- Country of PublicationUnited States
- ImprintColumbia University Press
- Content Note42 photographs
- Weight454 g
- Width152 mm
- Height229 mm
- Spine15 mm
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