Myth Philosophy Paper (original) (raw)
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Questions of Space in Contemporary Hollywood Cinema
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Spatial fixing was an integral part of maintaining imperial power structures throughout the colonial period, and like other discourses, it later found itself reproduced in cinema. As such, the physical and mental use of space has become key to the dissemination of ideological messages in many films. Confronting this tendency, this study applies theories of postcolonialism to selected examples of contemporary Hollywood film to examine how far it reconstructs traditional binaries of space. This investigation finds that despite attempts to disseminate more culturally sensitive and globally-minded portrayals of the Other, space remains particularly problematic. It also remains vital to storytelling narratives of race, gender, class and society in consideration of the film cases analysed in this study. While Fanonian notions of space continue to permeate cinema—with Total Recall and Avatar in particular drawing upon stereotypical motifs, it is possible to observe developments upon these ...
The Viewer's Embodiment into Cinematic Space. Notes on a Space-Image Cinema
Filipa Rosario & Ivan Villarmea (eds.), New Approaches to Cinematic Space, Routledge, 2018
This chapter is an invitation to consider cinematic space through a new analytical view – which actually is not only a ‘view’, but a carnal perception that deeply implies the spectator’s body. The focus of this paper is a notion I call the "space-image" (Gaudin, 2015), which echoes Gilles Deleuze’s well-known concepts “movement-image” and “time-image” (Deleuze, 1983, 1985). As the movement-image and the time-image, the space-image refers to a space that is not just a content or background of the image, but is at the same time a major philosophical issue and a fundamental plastic material of cinema. This concept is useful to study the poetics of space in the works of a few contemporary auteur filmmakers, such as Gus Van Sant, Jia Zhang-ke or Philippe Grandrieux, whose films call for a new paradigm of cinematic space. The space-image highlights the fact that before showing and staging an imaginary space "behind the screen", every film is first a spatial phenomenon in itself. Thus, space should also be considered as a primary plastic power inscribed within the moving image. This phenomenological approach is substantially different from classical approaches to space in film analysis.
IMAGE, SPACE, AND THE CONTEMPORARY FILMIC EXPERIENCE
Cinéma et Cie. International Film Studies Journal, 2012
The article tackles the current debate dealing with the possibilities of expansion of contemporary cinema, trying to provide theoretical tools in order to build a framework that considers the delicate relationship among space, image, and cinematic experience. Moving from the issue of medium specificity, the author identifies some possible contributions from Cultural, Media and Visual Studies with the aim of formalizing some key-concept for the study of contemporary (post-)cinematic forms.
The Film’s setting Notes for a pedagogy of the space/environmental functions of film
The primary target of my work is to investigate the concept of film space, starting from the meanings of words. The terms environment and space have different meanings and different implication for film analysis. During the last century, the technological revolution has changed our way to conceive spatiality. Despite Western anthropocentrism, the “age of simultaneity" brings this topic back to its centrality. A methodological approach based on Cultural Studies and referring to the modern European cinema (Gilles Deleuze, in the eighties, defined it not stricly narrative and found many examples of “empty space”) proposes interesting research material. Increasing urbanization and space travels have a strong influence on post-modern cinema. If the cinema is the art of visibile, it is therefore very important to investigate the relationships between interiors and interiority and also the boundary line between imagine and imagination. Furthermore, I am interested in the relationship between a character and background in the meaning construction. The aim of my study is to try to define how much the furniture and the various other objects are relevant for the drawing of the different characters. I would investigate in what way the geographical area, the landscapes and even the weather may reflect cultural identity and emotional conditions.
2014
The main activity of consciousness is not to allow us to perceive the world, but to allow us to orient ourselves in it. Its work, in other words, allows each one to create a relationship with himself or herself only by directing it towards others and towards things: it ensures the presence of the self to itself only by relating it to what is different from it. The fact that the conscious being overlaps and intersects the being in relation means that the body, far from being a tyrant that imposes his laws, grows and develops itself only by means of a symbiosis with social life: it manages to give an accomplished form to consciousness only by means of symbolic interactions. This relationship between the human body and society manifests itself in the form of an ongoing struggle in which the stakes are the internal intersection points – in the heart itself of the cognitive problem – and the external ones – in the languages, in the objects, in all the social forms. It is around these eve...
THE PLACE OF SPACE IN FILM HISTORIOGRAPHY
Elsewhere I have argued that film studies as it has been practiced over the past thirty years or so has been haunted by the spectre of the empirical: a persistent ambivalence toward anything that exists outside the text and beyond the edges of the screen. This ambivalence has its roots in the conventionalism of the dominant strands of film theory in the 1970s and, despite the field's moving into what some have called a 'post-theory' era, is sustained by teaching and analytical practices that owe a great deal to film's academic alliance (in the us, at least) with literary studies.
"The ‘Void Spaces’ in (between) Cinema" in ATINER'S No: ART2012-0065.
Athens: ATINER'S No: ART2012-0065., 2012
The word space comes from the Latin word spatium meaning an interval of time. Its concept deals with interdisciplinary definitions from philosophy to science, from geometry to architecture etc. However, its various theories emerged and developed through the history of the ancient philosophy and science which raised a series of questions on the existence of void. That is why our first goal will be to discern what the differences and similarities between the definitions of space and void are by studying the evolution of their concepts in philosophy and science. Thanks to this preliminary work, we will analyze the cinematic transcription of this dualistic duo space / void to find how their definitions can be understood in the framework of cinema. At the end of the day, we hope to identify the crossroads, but also the breaking points between their philosophical, scientific and cinematic notions. More generally, we aim at finding out how these many implications of space and void concepts can result in deepening and modifying their meaning in cinema.
Theoreticians of Cinema and the Sacred, like H. Agel, tend to study the representation of the Sacred in Film. But some, like S. Brent Plate, argue that cinema is sacred by essence, because it recreates the world through narrative and editing, like a demiurge god. On the other hand, this article suggests that cinema bears the traces of the Sacred simply because the physical film-particularly during the celluloid era-and the flattening of the image projected on the screen act like sympathetic equivalents of the world. Thus, film fulfills the same sacred function as the ritual engravings on temple walls, or in prehistoric caves, such as Lascaux. In the movie theatre, as in Lascaux, the Human tends to unite with the world understood here as an expression of the Divine, whose metonymy is the mural in the cave or the screen in the theatre. Therefore, movie-going is similar to what Lacan calls "rememoration": the Human at the movies remembers an archaic state going back to an era where the experience of the Sacred required a ritual placing the body in a dark space, facing a surface that represents the world..
The word space comes from the Latin word spatium meaning an interval of time. Its concept deals with interdisciplinary definitions from philosophy to science, from geometry to architecture etc. However, its various theories emerged and developed through the history of the ancient philosophy and science which raised a series of questions on the existence of void. That is why our first goal will be to discern what the differences and similarities between the definitions of space and void are by studying the evolution of their concepts in philosophy and science. Thanks to this preliminary work, we will analyze the cinematic transcription of this dualistic duo space / void to find how their definitions can be understood in the framework of cinema. At the end of the day, we hope to identify the crossroads, but also the breaking points between their philosophical, scientific and cinematic notions. More generally, we aim at finding out how these many implications of space and void concepts can result in deepening and modifying their meaning in cinema.
How can Cinematic spaces influence Physical spaces?
How can Cinematic spaces influence Physical spaces?, 2019
This thesis investigates the usage of cinematic spaces to create physical spaces. The thesis uses the Thriller/Suspense genre to further scrutinize and explore the cinematic spaces a viewer sees through a screen. The elements which coincide with physical spaces such as time, memory, time controls, narrative frames and space confinement have been evaluated carefully to find out the extent to which cinematic spaces can be used to better understand its application on physical spaces. Furthermore, some phenomenal cinematic pieces have been taken and analyzed as reference to support this thesis. The work of Christopher Nolan in Inception has been used to explain the way directors play with fragments of human memory to tell stories. Alfred Hitchcock‟s Rear Window explains how the audience sees the story that is taking place on a single screen. Moreover, Orson Well‟s Citizen Kane has been used to analyze narrative techniques and the role of positioning and framing the camera to tell a story. The thesis uses interviews to conduct research and gain the relevant data to analyze the cinematic and physical spaces with respect to a professional approach. The research on cinematic techniques and their application in physical space can open many opportunities for designers to create unique and extraordinary designs.