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Social Phenomenology: Husserl, Intersubjectivity, and Collective Intentionality brings together insights from the tradition of Husserlian phenomenology and from recent discussions of collective intentionality. Eric Chelstrom offers a unique account of how consciousness is formative of the social world-that is, in some cases our collectively thinking something to be the case is what makes it so. For instance, that the money one uses on a daily basis is worth something is not because of its physical characteristics, but because we believe that those physical traits, printed by the right institutions, make it so. Our institutions only have authority because we believe they do. This book promotes a position between atomism and collectivism. Chelstrom argues that there is, strictly speaking, no such thing as collective consciousness. Further, this book disputes the atomistic conception of the human subject, the view that individuals are like islands unto themselves, able to develop their capacities independent from others, and free of necessary relations to others. The resulting analysis in the work offers a strong challenge to common interpretations of the philosophy of Edmund Husserl. Social Phenomenology is primarily written for phenomenologists concerned with the social world. Its broader aim, however, is to draw into dialogue both analytic and continental philosophers working in social philosophy, specifically on collective intentionality. Book jacket.
Phenomenology of Film: A Heideggerian Account of the Film Experience uses the philosophy of Martin Heidegger as a framework for addressing key issues in the philosophy of film. This study grapples with the question of how we can reconcile film as a popular entertainment medium with Heidegger’s own various critiques of popular media and culture throughout his career. Shawn Loht also explores topics such as the ontology of film and moving images; the phenomenological character of the viewer experience; film conceived as an art medium; and the function of films as vehicles for philosophical thought. He further discusses important concepts from Heidegger’s philosophy--Dasein, existentiality, world, art and poetry, and the nature of philosophy. The first four chapters take up these issues from a theoretical perspective. The remaining chapters provide robust application of the theoretical material to the films of three contemporary filmmakers: Terrence Malick, Michael Haneke, and David Gordon Green. As the first single-author monograph that takes up Heidegger’s relevance to film, Phenomenology of Film will be of particular interest to philosophers of film and specialists of film and media studies working in the intersection of phenomenology and film or phenomenological approaches to issues in popular culture.
James Joyce and the Phenomenology of Film reappraises the lines of influence said to exist between Joyce's writing and early cinema and provides an alternative to previous psychoanalytic readings of Joyce and film. Through a compelling combination of historical research and critical analysis, Cleo Hanaway-Oakley demonstrates that Joyce, early film-makers, and phenomenologists (Maurice Merleau-Ponty, in particular) share a common enterprise: all are concerned with showing, rather than explaining, the 'inherence of the self in the world'. Instead of portraying an objective, neutral world, bereft of human input, Joyce, the film-makers, and the phenomenologists present embodied, conscious engagement with the environment and others: they are interested in the world-as-it-is-lived and transcend the seemingly-rigid binaries of seer/seen, subject/object, absorptive/theatrical, and personal/impersonal. This book re-evaluates the history of body- and spectator-focused film theories, placing Merleau-Ponty at the centre of the discussion, and considers the ways in which Joyce may have encountered such theories. In a wealth of close analyses, Joyce's fiction is read alongside the work of early film-makers such as Charlie Chaplin, Georges Méliès, and Mitchell and Kenyon, and in relation to the philosophical dimensions of early-cinematic devices such as the Mutoscope, the stereoscope, and the panorama. By putting Joyce's literary work--Ulysses above all--into dialogue with both early cinema and phenomenology, this book elucidates and enlivens literature, film, and philosophy.