Download Cinema’s Baroque Flesh: Film, Phenomenology and the Art of by Saige Walton PDF

By Saige Walton

In Cinema’s Baroque Flesh, Saige Walton attracts at the philosophy of Maurice Merleau-Ponty to argue for a different aesthetic class of movie and a special cinema of the senses: baroque cinema. Combining media archaeological paintings with paintings background, phenomenology, and picture experiences, the publication deals shut analyses of a number of old baroque artistic endeavors and flicks, together with Caché, Strange Days, the flicks of Buster Keaton, and lots of extra. Walton pursues formerly unexplored connections among movie, the baroque, and the physique, beginning up new avenues of embodied movie thought that may make room for constitution, signification, and idea, in addition to the aesthetics of sensation.

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45). Once it is configured as a sensing and a sensible being, film is no more reducible to its technological make-up than we are to our own anatomy.  220). It is because of the reversibility of perception and expression that we can assert the film’s body as a lived body—in the sense that film-phenomenology understands it. Sobchack is particular on this point. She is definitely not arguing that the film’s body is a human one. However, we could not say that how we experience the technological perceptions and expressions of the film’s body is inanimate, either.

88). In the rear of the painting, Velázquez’s use of perspective renders an open door, a corridor, and a flight of stairs visible.  256). Although it is not certain whether Nieto is about to enter the room, his presence draws no attention from any of the painted figures and his own look is also directed outwards.  256). Despite its array of human figures, it is the luminous rectangle on the left of the far walls that catches the eye—drawing our attention towards a distant mirror. This mirror reflects the image of the Spanish king and queen, standing beneath a red drapery.

Having defined the formal and the philosophical hallmark of the baroque as the aesthetics of reversibility—as a doubled and correlative structure— we are better placed to explore how baroque cinema reverberates with filmphenomenological approaches.  49).  49).  173, 118–119). Expanding on Sobchack’s now seminal work, I would argue that Merleau-Ponty not only allows us a way to see film anew but to see film and phenomenological film theory baroquely. By way of the chiasm, Merleau-Ponty tells us that we do not have to choose between a philosophy that installs itself in the world or in the other and a philosophy that installs itself ‘in us’ […] our own experience is this turning round that installs us far indeed from ‘ourselves’, in the other, in the things […] we situate ourselves in ourselves and in the things, in ourselves and in the other, at the point where, by a sort of chiasm, we become the others and we become the world.

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