Using hybrid phenomenological approaches to film, this book focuses on how moving images are 'experienced' and 'encountered' as well as 'read' and 'viewed'. Its close engagements with films and installations by four contemporary French filmmakers explore the limits and possibilities of 'cinematic' subjectivity.List of Illustrations Preface Acknowledgements Introduction Time and Matter: Temporality, Embodied Subjectivity and Film Phenomenology Knowing and Nothing: Chris Marker, Subjective Temporalities and Vocalic Bodies in the Future Tense Agn?s Varda's Trinket Box: Subjective Relationality, Affect and Temporalised Space Burlesque Gestures and Bodily Attention: Phenomenologies of the Ephemeral in Chantal Akerman Threatened Corporealities: Thinking with the Films of Philippe Grandrieux Conclusion: Rethinking Cinematic Subjectivity and Beyond Endnotes Bibliography Filmography Installations Cited
An important addition to the recent trend of phenomenological approaches to film,Phenomenology and the Future of Film offers a thoughtful exploration of cinema and the cinematic experience as revelatory of our enworlded, intersubjective way of being
and of making sense. In its articulation of key theoretical debates on temporality, perception, embodiment and subjectivity, as well as in its discussion of a series of works by French fi lmmakers and artists who engage with the medium of the moving image in its new diverging forms, the book is both illuminating and wonderfully engaging.' Martine Beugnet, Professor in Visual Studies, University of Paris 7, Paris, France
'Thinking subjectivity cinematically, as Jenny Chamarette does here, may be the most fruitful way to think it, given that humans have evolved inseparably from cinematic forms for more than a century: cinema, itself constantly changing, elicits a subject that is also keenly open to transformation and fl ow. Chamarette builds her argument with delicate precision and a thoroul3�