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Full Description
Introduction: The Death of God, the Birth of Film, and the New Metaphysics
Chapter One Image Breakthrough: Disclosure and Derailment in Painting, Photography, and Film
I. Art in the Wake of Metaphysics
II. The Myth of the Lumière Leaf
Chapter Two The Evolution of the Concept of "World" from Philosophy to Film
I. The World in the Palm of Philosophy
II. Film in the World's Palm, or the World in its Own Image
III. Metaphysical Figures in Days of Heaven
Chapter Three Paradise Exposed: Psychic Automatism in Film
Primer: "While the will is off its watch"
I. The Mechanical Garden
II. Heinrich von Kleist's Marionette Theater
III. Robert Bresson's Filmic Models
Chapter Four Nature, Whose Death Shines a Light: Exteriority and Overexposure in The Thin Red Line
I. Introduction
II. Dramaturgy of Nature
III. A Cinematic Sublime
IV. Metaphysics of the Front
Chapter Five "Mother, I am Dumb ...": The Reevaluation of Friedrich Nietzsche in The Turin Horse
Contents
Introduction: The Death of God, the Birth of Film, and the New Metaphysics
Chapter One Image Breakthrough: Disclosure and Derailment in Painting, Photography, and Film
I. Art in the Wake of Metaphysics
II. The Myth of the Lumière Leaf
Chapter Two The Evolution of the Concept of "World" from Philosophy to Film
I. The World in the Palm of Philosophy
II. Film in the World's Palm, or the World in its Own Image
III. Metaphysical Figures in Days of Heaven
Chapter Three Paradise Exposed: Psychic Automatism in Film
Primer: "While the will is off its watch"
I. The Mechanical Garden
II. Heinrich von Kleist's Marionette Theater
III. Robert Bresson's Filmic Models
Chapter Four Nature, Whose Death Shines a Light: Exteriority and Overexposure in The Thin Red Line
I. Introduction
II. Dramaturgy of Nature
III. A Cinematic Sublime
IV. Metaphysics of the Front
Chapter Five "Mother, I am Dumb ...": The Reevaluation of Friedrich Nietzsche in The Turin Horse
