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Time, Existential Presence and the Cinematic Image : Ethics and Emergence to Being in Film / Sam B. Girgus.

By: Material type: TextTextPublisher: Edinburgh : Edinburgh University Press, [2022]Copyright date: ©2018Description: 1 online resource (200 p.) : 10 B/W illustrationsContent type:
Media type:
Carrier type:
ISBN:
  • 9781474436236
  • 9781474436250
Subject(s): DDC classification:
  • 791.4301 23
LOC classification:
  • PN1995 .G524 2018
  • PN1995 .G524 2018
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Figures -- Acknowledgements -- Introduction – Time, Existential Presence, and the Cinematic Image: Ethics and Emergence to Being in Film -- PART I The Otherness of Existence and “Spacious Temporality”: Delayed Cinema and Freedom -- CHAPTER 1 Delayed Cinema and “This Space-Time of Freedom”: De Sica’s Bicycle Thieves (1948) -- CHAPTER 2 La Demora (2012) -- CHAPTER 3 Existence and Ethics in the Dardenne Brothers’ Two Days, One Night (2015) -- PART II Western Spaces: Landscapes of Denial, Death, and Freedom -- CHAPTER 4 El Viaje: Tommy Lee Jones and the Violent Times of the Mission to Mexico -- CHAPTER 5 The American Way: Time, Death and Resurrection in Iñárritu’s Western Masterpiece -- Epilogue – Time, Spacing, and the Body in Martin Scorsese’s The Age of Innocence (1993) -- Index
Summary: Uses philosophical thinking on delayed cinema, time and ethics to provide a new approach to reading filmIn Time, Existential Presence and the Cinematic Image, Sam B. Girgus relates Laura Mulvey’s theory of “delayed cinema” to ideas on time and the relationship to the other in the writings of Jean-Luc Nancy, Emmanuel Levinas and Julia Kristeva, among others. The sustained tension in film between, in Mulvey’s phrase, “stillness and the moving image” enacts a drama of existential emergence. The stillness of the framed image in relation to the moving image opens “free” cinematic time and space for a fresh engagement with crucial ethical and cultural issues. With close readings of films such as The Bicycle Thieves, Two Days, One Night, The Three Burials of Melquiades Estrada, The Revenant and The Age of Innocence, this book proposes a fresh approach to reading film in the context of emerging existential presence and the ethical imperative.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781474436250

Frontmatter -- Contents -- Figures -- Acknowledgements -- Introduction – Time, Existential Presence, and the Cinematic Image: Ethics and Emergence to Being in Film -- PART I The Otherness of Existence and “Spacious Temporality”: Delayed Cinema and Freedom -- CHAPTER 1 Delayed Cinema and “This Space-Time of Freedom”: De Sica’s Bicycle Thieves (1948) -- CHAPTER 2 La Demora (2012) -- CHAPTER 3 Existence and Ethics in the Dardenne Brothers’ Two Days, One Night (2015) -- PART II Western Spaces: Landscapes of Denial, Death, and Freedom -- CHAPTER 4 El Viaje: Tommy Lee Jones and the Violent Times of the Mission to Mexico -- CHAPTER 5 The American Way: Time, Death and Resurrection in Iñárritu’s Western Masterpiece -- Epilogue – Time, Spacing, and the Body in Martin Scorsese’s The Age of Innocence (1993) -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Uses philosophical thinking on delayed cinema, time and ethics to provide a new approach to reading filmIn Time, Existential Presence and the Cinematic Image, Sam B. Girgus relates Laura Mulvey’s theory of “delayed cinema” to ideas on time and the relationship to the other in the writings of Jean-Luc Nancy, Emmanuel Levinas and Julia Kristeva, among others. The sustained tension in film between, in Mulvey’s phrase, “stillness and the moving image” enacts a drama of existential emergence. The stillness of the framed image in relation to the moving image opens “free” cinematic time and space for a fresh engagement with crucial ethical and cultural issues. With close readings of films such as The Bicycle Thieves, Two Days, One Night, The Three Burials of Melquiades Estrada, The Revenant and The Age of Innocence, this book proposes a fresh approach to reading film in the context of emerging existential presence and the ethical imperative.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jun 2022)