American avant-garde cinema's philosophy of the "in-between" (Book, 2020) [WorldCat.org]
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American avant-garde cinema's philosophy of the
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American avant-garde cinema's philosophy of the "in-between"

Author: Rebecca A Sheehan
Publisher: New York, NY : Oxford University Press, [2020] ©2020
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
"Can films philosophize rather than simply represent philosophical ideas developed outside of the cinematic medium? Taking up this question crucial to the emergent field of film philosophy, this book argues that the films of the American avant-garde do "do" philosophy and illuminates the ethical and political stakes of their aesthetic interventions. The book traces the avant-garde's philosophy by developing a  Read more...
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Genre/Form: Criticism, interpretation, etc
Additional Physical Format: Erscheint auch als
Sheehan, Rebecca A.
American avant-garde cinema's philosophy of the in-between.
New York : Oxford University Press, 2020
Online-Ausgabe
(DLC) 2019035354
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Rebecca A Sheehan
ISBN: 9780190949709 0190949708 9780190949716 0190949716
OCLC Number: 1196275187
Description: xi, 292 Seiten : Illustrationen
Contents: Introduction: Philosophizing FilmsChapter One: 'Here are Materials Strewn Along the Ground': The Ethical Aesthetics of the OrdinaryChapter Two: The American Avant-Garde's Landscape PhilosophyChapter Three: Disassembling Vision Through Dimensional In-BetweensChapter Four: From Figures of Paradox to a Philosophy of Review
Responsibility: Rebecca A. Sheehan.

Abstract:

"Can films philosophize rather than simply represent philosophical ideas developed outside of the cinematic medium? Taking up this question crucial to the emergent field of film philosophy, this book argues that the films of the American avant-garde do "do" philosophy and illuminates the ethical and political stakes of their aesthetic interventions. The book traces the avant-garde's philosophy by developing a history and theory of its investment in dimensional, conceptual, and material in-betweens, clarifying how this cinema's reflections on the creation and reception of images construct an ethics of perception itself, a responsibility to perpetuate thought in an enduring re-encounter with the world and with meaning's unfinished production. This entails the avant-garde's locating of cinema's-and thought's-ends or meanings in their means, and their advancement of an image of truth that is made rather than found that unites their films with the philosophies of Ludwig Wittgenstein and Ralph Waldo Emerson who believed the "journey's end is found in every step of the road" (Cavell). Rectifying film-philosophy's neglect of the American avant-garde, the book demonstrates how rather than showing their interest in the revelation of authoritative truths, the avant-garde's interest in the re-encounter and review of the seen and known emerges from an American Transcendentalist tradition that opposes such notions. Sheehan reads the avant-garde's interest in the contingencies of spectatorial experience as also an extension of Pragmatism's commitment to replacing the authority of a priori knowledge with that of individual experience. She also shows how Emerson's influence on Friedrich Nietzsche connects the American avant-garde's philosophies to Deleuze's time-image, premised largely upon Nietzsche's "powers of the false.""

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Sheehan's film-philosophical engagement with experimental cinema promises to be relevant not only for a self-reflexive exercise of media scholarship, but also for a more ethical engagement with the Read more...

 
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