Philosophy in Stan Brakhage's Dog Star Man

World, Metaphor, Interpretation
1. Auflage 2019
ISBN: 978-3-030-12428-1
Verlag: Springer, Berlin

Buch, Englisch, 144 Seiten, Book, Format (B × H): 148 mm x 210 mm

This book shows how a masterpiece of experimental cinema can be interpreted through hermeneutics of the film world. As an application of Ricœurian methodology to a non-narrative film, the book calls into question the fundamental concept of the film world. Firmly rooted within the context of experimental cinema, Stan Brakhage’s Dog Star Man was not created on the basis of a narrative structure and representation of characters, places and events, but on very different presuppositions. The techniques with which Brakhage worked on celluloid and used frames as canvases, as well as his choice to make the film without dialogue and sound, exhort the interpreter to directly question the philosophical language of moving images.

Zielgruppe

Research

Autoren/Hrsg.

Baracco, Alberto

Fachgebiete

• Geisteswissenschaften Philosophie Moderne Philosophische Disziplinen Phänomenologie
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmtheorie, Filmanalyse
• Geisteswissenschaften Philosophie Hermeneutik

Inhaltsverzeichnis

Chapter 1 - Introduction1.1     Theoretical Aspects and Possible Perspectives in Film Philosophy 1.2     Film Worlds Theory1.3     Ricoeurian Hermeneutics of the Film World1.4     Some Preliminary Conclusions Chapter 2 - DSM and Philosophy2.1     DSM Through Ricoeurian Hermeneutics2.2     The Process of Interpretation2.2.1          Phase 1: Understanding DSM's Film World2.2.2          Phase 2: Explaining DSM's Film World2.2.3          Phase 3: Critical Understanding of DSM's Film World2.2.4          Structure and Schemata2.3     DSM as Film World Chapter 3 - Understanding DSM's Film World3      3.1     Initial Guess: Pure Visual Perception3.2     Symbolic Elements of the Film World3.3     DSM as Poetry of Vision3.3.1          The Rhetorical-Stylistic Structure of DSM3.3.2          The Rhythmic Structure of DSM3.4     DSM as Epic Mythology3.4.1          The Genesis3.4.2          The Conflict3.4.3          The Innocence3.4.4          The Desire3.4.5          The Death Chapter 4 - Explaining DSM's Film World4      5      6      4.1     Origin of the Film World: Deren, Duncan and Brakhage's Heterodoxy4.2     History of Interpretations: Camper and Sitney4.3     Exegesis of Symbolic Meanings: Between Poetry and Myth 4.3.1     Poetry of Vision4.3.2     Epic Mythology4.4     Conflict of Interpretations: Is an Analytical Approach to DSM appropriate? Chapter 5 - Critical Understanding of DSM's Film World5      6      7      8      5.1     Critical Understanding of Interpretation: Further Clues on DSM's Film World 5.2     Critical Understanding of Interpreter: Mythopoesis 5.3     Critical Understanding of Film Philosophy: Rejection of Logocentric Metaphysics Chapter 6 - Conclusion6      7      8      9      10      6.1     A Summary of our Journey into DSM's Film World 6.2     A Last Remark on Ricoeurian Film Hermeneutics

Über Autor(innen)

Alberto Baracco conducts research on film, film philosophy and film ecocriticism at the University of Torino, Italy.