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Full Description
This book provides philosophical insight into the nature of reality by reflecting on its ontological qualities through the medium of film. The main question is whether we have access to reality through film that is not based on visual representation or narration: Is film—in spite of its immateriality—a way to directly grasp and reproduce reality? Why do we perceive film as "real" at all? What does it mean to define its own reproducibility as an ontological feature of reality? And what does film as a medium exactly show? The contributions in this book provide, from a cinematic perspective, diverse philosophical analyses to the understanding of the challenging concept of "the real of reality".
Contents
Acknowledgements
List of Illustrations
Notes on Contributors
Introduction
Christine Reeh-Peters, Stefan W. Schmidt and Peter Weibel
PART 1
The Rise of the Real
1 The Real in Film
The Historical Real, the Optical Real, and the Material Real
Hyun Kang Kim
2 The Being of Film
Christine Reeh-Peters
3 What It Means to Imagine Imagination
The Derrida-Searle Debate and the Poetic Ontology of Film
Philip Freytag
4 Emerging Imaginations
The Relation of Film and Reality from a Literary Perspective
Karin Janker
5 Animated Visions of Reality
The Real as Experimental Aesthetic in Anca Damian's Animated Documentaries
Zsolt Gyenge
6 Pasolini's Pan-semiology or Reality as Code
Peter Weibel
PART 2
Experiencing the Real
7 The Cinematographic Experience
Thinking Cinema through the Philosophy of E. Husserl
Hanna Trindade
8 Reality Narrated through time
Andrei Tarkovsky's The Mirror
Stefan W. Schmidt
9 Time and Film
Maria-Teresa Teixeira
10 Mapping Film-World Relations to Reality
A New Conceptual Cartography
Atėnė Mendelytė
11 The Crisis of the Time-Image
Montage in Postmodern Times
Martin Stefanov
12 Think Future Cinema—with Photofilm as Its Basis
Gusztáv Hámos
PART 3
The Real Unsettling
13 The Bird's Eye View—Ornithology and Ontology in Hitchcock's The Birds
Markus Gabriel
14 A Rough Sketch on the Real of Terrorism—Thoughts on Christopher Nolan's Dark Knight Trilogy
Ringo Rösener
15 Justifying a Philosophical Claim
The Act of Killing and the Banality of Evil
Thomas E. Wartenberg
16 Jauja and Meek's Cutoff
The Parallel American Ways of Rethinking Gilbert Simondon's Role of Aesthetics in the Configuration of Humanity
Román Domínguez Jiménez
17 Maya Deren's Claim for the "Ritualistic" Film or Fusing the Sacred and the Profane for the Sake of the Real
Patricia Feise-Mahnkopp
