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action films, 178
Adaptation (Jonze), 256
aesthetic attitude, xviii, 167, 192, 225
aesthetic distance, 156, 166–67, 188
aesthetic experience, xv, xviii, xix, 122, 127, 128, 148, 151, 188, 192, 193, 212–13, 226, 241; film and, xxv, xxiv, xxv, 7, 15, 19, 28, 31, 130, 150, 163, 183, 184, 201, 204, 223–26, 267. See also formal-artistic expression; global cineaesthetic expression; immersion, aesthetic
aesthetics (philosophical), xv, xviii, xx, xxii, 3, 9–10, 52, 191, 269n5
affect, 171–76. See also feeling; sensory-affective expression
After Hours (Scorsese), 253
allusion (indirect exemplification), 54, 129–30, 142
Altman, Rick, 153
analysis: film, 150, 199, 200, 226; vs. interpretation, 242–44
Andrei Rublev (Tarkovsky), 221, 248
Andrew, Dudley, xxi–xxii, 7, 116, 242, 243, 270n20, 270n1
Antonioni, Michelangelo, 83, 90, 154, 174, 209, 222, 275n41, 280n76. See also L’avventura (Antonioni); Blow-Up (Antonioni); Red Desert (Antonioni)
Apocalypse Now (Coppola), 104
art cinema, 58, 81, 97, 134, 154
auteur theory (auteurism), xxv, 10, 215–16, 219, 221. See also authorship
authorship, 12–14, 34, 190, 217–22
Avatar (Cameron), 194
L’avventura (Antonioni), 148, 203
Bad Timing (Roeg), 97
Bakhtin, M. M., 109
Band of Outsiders (Godard), 107
Barker, Jennifer, 284n54
Barthes, Roland, 49, 68, 278n38
Battleship Potemkin (Eisenstein), 68, 70–71
Bazin, André, 75, 90, 153, 221, 278n25, 286n26
Beardsley, Monroe C., 122, 191, 282n45
Before trilogy (Linklater), 18
Belly of an Architect (Greenaway), 57
La bête (Borowczyk), 173
Bigger Than Life (Ray), 126
Biro, Yvette, 97
Black Narcissus (Powell and Press-burger), 252
Blade Runner (Scott), 256
Bonitzer, Pascal, 89–90
Bordwell, David, 19, 24, 28, 31, 79, 97, 100, 110, 150, 166, 178, 250, 269n3, 271n36, 276n27, 283n26, 286n19; on aesthetic perception of films, 185; on film as art, xvi–xvii; on film viewing vs. interpretation, 243; on personality and cinematic style and authorship, 218; on Sarris’s “interior meaning,” 216; on worlds of films, 17, 32
Branigan, Edward F., 31
Breaking the Waves (Von Trier), 100
Bresson, Robert, 90–91, 93, 103–104, 154, 174, 208, 209, 280n67. See also Lancelot du Lac (Bresson); The Trial of Joan of Arc (Bresson)
Burch, Noël, 32, 100, 166, 208, 263, 271n32; on the diegetic world of films, 20–21, 24, 30, 31; on editing, 101; on film form and content/subject matter, 263; on filmic materials, 62, 65
Caché (Haneke), 170
camera movement, 92, 94, 138–39, 166, 177–78, 183, 188, 208
Carroll, Noël, xix, 6, 122, 277n4, 281n23; on authorship and expression, 215; on emotional “prefocusing,” 165, 177; functional account of style, 112; on medium foundationalism, 53
Cassirer, Ernst, xxii, 56, 66, 77, 119, 156, 169, 180, 196, 212, 249, 285n12; on art as symbolic form, 50, 51, 52, 67, 76; on feeling of artwork, 196, 210; and Goodman, 44, 52, 54; and Langer, 52, 53; philosophy of symbolic forms, 47, 49–54
casting (and film world-making), 61, 143
Cavell, Stanley, 75, 111, 235, 270n20, 286n26
characters: fictional, xiv, xxi, 3, 6, 7, 11, 17, 18, 22, 24, 33, 39, 64, 115, 167, 179; moods of, 195; perceptions of, 20, 21, 98, 100, 206; psychological and emotional engagement and identification with, 165, 168, 176, 178, 180, 182, 183, 186, 223
Un chien andalou (Buñuel), 104
Chion, Michel, 22, 96, 221, 279n53
cinematographic dimension of films, 53, 66, 70, 74, 76, 78, 92, 181, 247
Citizen Kane (Welles), 70–71, 147, 203, 241, 246, 262, 264
A Clockwork Orange (Kubrick), 182
Close-Up (Kiarostami), 136
close-up images, 91, 93, 95, 101, 103, 126, 173, 174, 184–85
cognitive-diegetic expression, xxiv, 170, 176–81, 183, 186–89, 197, 223, 224, 239
Collingwood, R. G., 162
composition/decomposition, 87–93, 95, 101, 103, 111, 140
connotation, 26–27, 30, 68, 85, 121, 148, 186
The Conversation (Coppola), 151
Danto, Arthur C., 258
Day for Night (Truffaut), 62–66, 218, 246, 273n7
defamiliarization, 107, 250, 256
deframing, 89–92
deformation, 87, 108–110, 141, 276n37
Dekalog (Kieslowski), 101
deletion, 87, 102–107, 111, 128
Deleuze, Gilles, xxi, xxiii, 66–67, 71–72, 75, 77, 78, 84, 90, 175, 183, 193, 203, 209, 258, 274n13, 276n32, 281n27; on films and worlds, xiii, 72; on framing, 89; and Goodman, 89, 93, 156; and Mitry, xxiii, 49, 274n13; and Pasolini, xxii, 49, 77, 78, 81; and semiotics, 47, 49; time-image, 81, 97, 153
denotation, 54, 68, 115–18, 120, 128; in cinema, 26, 27, 31, 70, 115–18, 121, 123, 126, 137, 144–46; vs. connotation, 26, 27, 68, 148; and diegetic world (world-in), 26, 30, 33, 115; vs. exemplification, 119, 121–23, 132, 137
diegetic/nondiegetic distinction, 20–24
diegetic world. See world, diegetic
digital technology, xix, xxiii, 16, 28, 61, 65, 84, 91, 104, 108, 112, 121, 129, 173, 181, 186, 202. See also technology
discursive form, 52
distortion. See deformation
Dogville (Von Trier), 105
The Double Life of Veronique (Kieslowski), 104, 153
The Draughtsman’s Contract (Greenaway), 57
Drowning by Numbers (Greenaway), 57
Dufrenne, Mikel, xx, xxiv, 27–30, 169, 190–206, 211–24, 251, 257; on aesthetic expression vs. representation, 27–29, 74, 192, 202; on aesthetic immersion, 192, 223, 224; on aesthetic object vs. artwork, 192, 233; on aesthetic object as quasi-subject, 212; on cinematic illusion, 27, 29, 193; on duration (lived time) and the aesthetic object, 206, 211; on film, 27, 29, 193; influence on Metz, 27, 28, 272n44; influence on Mitry, 74; on presence of artist in world of aesthetic object, 213–14, 220, 284n57; on relation of time and space in experience of aesthetic object, 211–12; on rhythm and aesthetic object, 206–207, 210, 211; and Sarris, 216; and Sobchack, 284n54; on world atmosphere (world-feeling), 30, 54, 190, 206, 194–96, 197, 199, 212, 213, 223, 282n16, 285n76; on world of aesthetic object, 30, 74, 190, 192, 202, 211; on worlds of artists, 212, 220, 222, 285n76
duration: of aesthetic experience and object, 211–13; as duré, 203, 206. See also time
Ebert, Roger, 147
editing: as basis of cinematic art, 61; and cinematic affect and emotion, 172, 177, 178, 188, 204, 209; and film-world creators, 209; and film world-making, 56, 89, 94, 101–102, 103, 104, 124, 129; as montage, 80, 129, 171, 209
Eisenstein, Sergei, 56, 69, 71, 102, 129, 171, 174; on film rhythm and expression, 208–210; and Pasolini’s theory of im-signs, 75. See also Battleship Potemkin (Eisenstein)
Elgin, Catherine Z., 118, 121, 130, 131, 244, 246, 277n1
Elliott, R. K., 167, 187–88, 225, 282n44, 282n45
embodiment, xiii, 11, 42, 115, 163, 252, 284n54
emotion: and attention to artistic features in films, 180–84; and character identification, 164–66, 176, 177, 178, 181, 184; cognitive approaches to, xxiv, 162, 164, 165, 168, 179; different types in film, xvii, 168; and expression, 162; vs. feeling/affect, 164, 165, 171; fictional vs. artefact, 166, 167, 168, 169. See also cognitive-diegetic expression; expression; feeling
Ent r’acte (Clair), 172
Eraserhead (Lynch), 107
The Eternal Sunshine of the Spotless Mind (Gondry), 97
event: of artwork, xx, xxv, 225, 233–35, 248, 256, 285n10; of film world (as truth), xx, xxv, 155, 225, 226, 231, 241, 242, 245, 248, 250, 254, 265–67; temporality of films and artworks as, 233, 236, 242, 245, 264
exemplification: as symbolic process in cinema, 121–36, 139, 145, 147, 152, 221–22, 240, 256, 259; as symbolic process in science and art, 118–23, 129, 278n23. See also allusion (indirect exemplification)
expression: aesthetic expression in film, xxiv, 27, 29, 49, 58, 67–68, 70, 72–73, 76, 78–82, 93, 161–62, 169, 170, 178, 180–85, 190, 193–201, 211, 213–26, 257, 278n44; of the aesthetic object, 27, 54, 193, 195, 206, 211, 220; affective expression and film, xxiv, xxiv, 27, 29, 52, 68, 74, 81–84, 127, 128, 145, 162, 163, 168–85, 187–90, 195, 203, 206, 213, 215, 217, 219, 222–26, 239, 245, 281n26, 281n27; of artists/filmmakers (“creator-owned”), 52, 67, 74, 213–23, 257, 284n57; definitions of, 161–62; expression theory of art, 52, 162, 283n24; as metaphorical exemplification, 54, 127, 128, 130, 144–46, 156; natural (innate) expression in film, 75, 81–85, 170–72, 174–75, 184; of profilmic objects and situations, 83, 171, 172; vs. representation in film and art, 26–27, 72, 73–75, 193, 194, 213, 251; symbolic, 50–51, 54, 58, 66–68, 76, 229. See also cognitive-diegetic expression; formal-artistic expression; global cineaesthetic expression; sensory-affective expression
extranarrative features of films, 4, 32, 39, 64, 66, 80, 96, 123, 124, 143, 167, 182, 217, 281n39
Eyes Wide Shut (Kubrick), 253
face, human, 76, 83, 91, 95, 104, 173, 174, 184–85, 253
The Falls (Greenway), 55
feeling: vs. emotion, 164–65; and film worlds, 161–89, 190–226; and symbolization in art, 50–54, 59, 67, 126–28, 156. See also affect; emotion; expression; time, lived (felt); world-feeling
fiction, theories of, 4–10, 18–19. See also worlds, fictional
fictional worlds. See worlds, fictional
film world, types of, xxiv, 149–55
A Fistful of Dynamite (Leone), 95
The Five Obstructions (Von Trier and Leth), 94, 108
The Flight of the Red Balloon (Hou), 108
formal-artistic expression, xxiv, 170, 171, 178, 180–84, 187, 198, 239
formalist (and neoformalist) film theory, xxi, 16, 56, 61, 67, 73, 88, 274n23
framing, 56, 61, 79, 94, 124, 177, 188, 199; and composition/decomposition, 89–92. See also deframing; reframing
Frampton, Daniel, 11–13, 16, 22, 271n24
Freaks (Browning), 173
Funny Games (Haneke), 135
Gadamer, Hans-Georg, xx, 10, 230, 236, 240, 285n4, 285n15; on art as means of self-understanding, 240; on art as play, 232–33; on artistic transformation of reality, 234; on cultural and artistic tradition, 235, 285n10; cultural world and natural environment distinction, 40; Erlebnis / Erfahrung distinction, 234, 240; and film theory and philosophy of film, xx; fusion of horizons, 237; on interpretation as hermeneutic understanding, 237, 238, 243; on truth and art, xxv, 231, 249, 251; on world of artwork, 234. See also event; hermeneutic circle; hermeneutics; truth
Gaut, Berys, 164–65, 277n4, 280n12, 283n26, 284n70
genre, xiv, 24, 25, 129, 134, 142, 143, 152–53, 155, 188, 221, 236, 266; and deformation, 109–110; and emotion, 165, 177, 178, 197; and sensory affect, 174, 175, 197; and world-feeling, 197–98. See also action films; horror film; melodrama; musicals; science fiction; westerns
The Girl Can’t Help It (Tashlin), 126
global cineaesthetic expression, xxiv, 54, 170, 171, 189, 190, 196–201, 206, 207, 213–226. See also world-feeling
Godard, Jean-Luc, 94, 98, 100, 106–107, 124, 126, 133, 279n49, 279n50; density of symbolic reference in films, 139–43; on films and worlds, 210; and reflexivity, 132, 135, 136, 140–43; on rhythm and expression in film, 208, 209–210. See also Band of Outsiders (Godard); Le mépris (Godard); One Plus One (Godard); Pierrot le fou (Godard); Sauve qui peut (Godard); Tout va bien (Godard); Two or Three Things I Know About Her . . . (Godard); Vivre sa vie (Godard)
The Good, the Bad, and the Ugly (Leone), 95
Goodman, Nelson, xx, xxiii, 109, 114, 117, 128, 155, 157, 278n32; on aesthetic “symptoms,” 148; on allusion as indirect exemplification, 130; on artistic interpretation, 120, 144, 244; on artistic truth as “rightness” and “projectibility,” 255, 286n34; on artistic versions (world-versions), 73, 108, 200; on artistic worlds and world-making, xxiii, 43, 55, 56, 58, 85–89, 93, 95–96, 102, 103, 108, 110–13, 261, 275n3; on cognitive aspect and value of art, 55, 87, 128, 286n38; on cognitive function of feeling in aesthetic experience, 128, 156, 184; on composition and framing, 89; concept of exemplification, xxiii, 54, 118–22, 215, 277n22, 278n23; contrastive exemplification, 129; and Deleuze, 89, 93, 156; expression as metaphorical exemplification, 127, 156; on films and worlds, 86; five world-making processes, 85–89, 93, 95–96, 102, 103, 108, 110–13, 140, 142, 276n37; and Langer, 52, 53, 54; on literal (formal) exemplification, 126; and Mitry, 66, 87; and Pasolini, 66, 81, 87; and reflexivity in art as exemplification, 131; relation to Cassirer, 52, 54; on representation as denotation, 115–17, 277n6; skepticism concerning fictional worlds, 6, 271n11; on style, 149–50, 216, 279n61; on symbolic processes in films, 144; on symbolization, 44, 47, 53–55, 276n39
Gracyk, Theodore, 276n39, 277n22
Greenberg, Clement, 258
Greene, Naomi, 77
Gunning, Tom, 186
Halloween (Carpenter), 178
haptic features and affect, 91, 127, 168, 281n27; theories of, 91, 168, 281n27
The Headless Woman (Martel), 90
Heidegger, Martin, xx, xxv, 82–83, 220, 231, 232, 251, 270n20, 285n4; on artistic truth and “preservation” of works, 256, 257; on being of artwork, 249; on the shining forth of material basis of artwork, 8; on truth of artwork as aletheia, 249, 259; on “World” and “Earth,” 40, 82
hermeneutic circle, 238–41, 285n15
hermeneutics, xx, xxv, 157; and film theory and philosophy, xx, 230, 285n3, 285n4; of film worlds, 228–67. See also Gadamer, hermeneutic circle; interpretation
heterocosmic conception of artwork, xxii, 7–11, 15–17, 19, 40, 52, 67, 118, 230
Hiroshima mon amour (Resnais), 91
Hofstadter, Albert, 232
holism: of cinematic works and worlds, xiv, xxii, 31, 84, 87, 232, 250, 267; of global cineaesthetic world-feeling, 196, 199, 220, 222; of worlds, 43, 87
Hollywood-style filmmaking, 18, 21, 32, 81, 97, 125, 134, 135, 147
Holmes, Diana, 62
Holy Motors (Carax), 136
horror film, 109, 135, 178, 197, 198
iconicity: of film images, 16, 26–27, 45, 65, 66, 68, 70, 74, 123, 172, 183, 184, 203; and Peirce, 47; and perception and interpretation of films, 116–17
illusion (illusionism): and cinematic reflexivity, 134, 135; and diegetic world, 14, 32; and filmmaking technology, 194; and representation, 29, 187, 193
imagination: in aesthetic experience, xviii, 28, 187–88, 191, 282n45; and cognitive-diegetic expression, 176–78, 223; and fictional worlds, xiv, 5, 6, 7, 17, 267; in film viewing, 71, 90, 105, 187, 188, 204, 226
immersion: aesthetic, 161, 168, 188, 192, 206, 207, 222–26; cognitive-diegetic (imaginative), 282n44, 187–89, 223, 224; in film worlds, xiv, 34, 59, 155, 157, 161, 168, 185–89, 190, 192, 201, 204; and global cineaesthetic world-feeling, xxiv, 161, 189, 195, 198, 213, 222, 224, 226; sensory-affective, 186, 189; and time, 201, 204, 206, 207; in the world-in films, 187–89, 192, 223, 224
im-sign (imsegni), 76–80, 82, 83, 93. See also Pasolini
indexicality, 45, 53, 65, 67, 74, 117, 173
Ingram, Robert, 62
Inland Empire (Lynch), 132, 220
intentions: and film as collaborative art, 14, 217; of filmmakers and artists, 10, 12–15, 70, 72, 81, 87, 123, 170, 180, 216–18, 278n38; and film world-feeling, 190, 219
interpretation: as part of aesthetic experience, xviii, 15, 17, 62, 69, 71, 73, 122, 226, 238, 240; vs. analysis, 242–43; and artistic style, 73, 149–50, 152, 155; of film images, 69, 71, 73, 115–17, 200; and film-world truth, 248, 262, 264, 265, 266; as hermeneutic understanding, 230, 233, 236, 237, 238–45, 285n10; of subjects and reality by films/filmmaker, 72–74, 162, 181, 214, 253, 255, 260; and symbolic exemplification, xxiii, 120, 122, 124, 128, 133, 136, 146–47, 150, 155, 257; symbolic worlds as, 51, 55; of symbols, 48, 51, 59, 146–47. See also hermeneutic circle
intertextuality, 65, 130, 153, 278n38
In the Mood for Love (Wong Kar-Wai), 109
Ivan’s Childhood (Tarkovsky), 247–48
Jackie Brown (Tarantino), 98
La jetée (Marker), 108
Kaelin, Eugene, 191
Kant, Immanuel, 8, 47, 49, 51, 156, 194, 196, 223, 266, 282n4, 284n54, 284n55; on artistic exemplariness, 258–59; on time and space in consciousness, 212–13
Kawin, Bruce F., 33
The Killing (Kubrick), 97
Kovács, András Bálint, 97
Kristeva, Julia, 278n38
Kubrick, Stanley, 94, 96, 102, 137, 139, 146, 279n53. See also A Clockwork Orange (Kubrick); Eyes Wide Shut (Kubrick); The Killing (Kubrick); Paths of Glory (Kubrick); The Shining (Kubrick); 2001: A Space Odyssey (Kubrick)
Lamarque, Peter, 17, 218, 275n3
Lancelot du Lac (Bresson), 91, 103
Langer, Susanne K., xxii, 65; on artwork as single symbol of feeling, 53, 67, 222; and Cassirer, 47, 52, 54; on cinema, 53, 273n26; and Goodman, 47, 52, 54; and Mitry, 68, 274n19; on presentational (vs. discursive) form, 52, 53, 66, 129, 169, 175
language: in criticism and interpretation, 122, 124, 132, 133, 222; and film, 30, 46, 47, 66, 67, 68, 75–78, 82, 124, 274n26, 275n46; and semiotics, 21, 30, 45, 46, 47, 51, 66, 67, 68; as symbolic representation, 4, 49, 50, 52, 54, 56, 67, 75, 116, 119, 147
Last Year at Marienbad (Resnais), 144, 145, 205
life-world, 41, 67, 73, 90, 172, 250, 251
Livingston, Paisley, 219, 284n70
The Long Good Friday (Mackenzie), 184–85
Lopes, Dominic McIver, 116, 129, 277n6
The Lord of the Rings (Jackson), 194
Lynch, David, 91, 107, 132, 142, 195, 197, 220–21, 252, 264. See also Eraserhead (Lynch); Inland Empire (Lynch); Lost Highway (Lynch); Mulholland Drive (Lynch); Twin Peaks: Fire Walk with Me (Lynch)
Manhattan (Allen), 151, 252, 253
Man with a Movie Camera (Vertov), 172
Margolis, Joseph, xv, 6, 42, 122, 237, 265, 282n45
Massumi, Brian, 164
Mast, Gerald, 65
materials of filmmaking (and film worlds), xxiii, 60–66, 76–78, 85, 87, 88, 92, 111, 114, 137, 152, 230, 235, 253–55, 260, 281n27; naturally expressive, 82–84, 172–75
Medium Cool (Wexler), 132
melodrama, 177
Le mépris (Godard), 126, 132–33, 139–43
Merleau-Ponty, Maurice, 11, 72, 191, 212, 274n19, 284n54; on artistic expression and authorship, 220; on film art and rhythm, 208
metaphor: and exemplification, 120, 123, 126–28, 138, 156; in film, 26, 63, 69, 78, 105, 123, 128, 145, 147, 148, 156, 181
metonym. See metaphor
Metz, Christian, 46, 47, 49, 84, 92, 96, 172; on the aesthetic in cinema, 27, 30; on cinematic connotation, 30, 85; on cinematic denotation, 26–28, 116; conception of the diegetic world, 20–21, 24, 26, 27, 30, 31; denotation vs. connotation in film, 26–27, 30, 121, 148; influence of Dufrenne’s aesthetics on, 27, 29, 272n44; on natural expression in cinema, 82, 173; on Pasolini’s concept of im-sign, 79
mise-en-scène, 93, 98, 104, 106, 142, 146, 153, 177
Mitry, Jean, xxi, xxiii, 24, 29, 49, 67–75, 76, 80, 83, 86, 87, 89, 92, 116, 117, 123, 155, 172, 195, 196, 199, 231, 253, 255, 263, 274n34, 275n46, 281n25; on artistic expression in film, 68, 71, 73, 162, 180, 214, 215; on artistic style, 73, 215; and Cassirer’s and Langer’s aesthetics, 68; on cinema and the aesthetic attitude, 225; on cinematographic representation, 68–69, 92, 181; criticism of concept of diegesis, 21; and Deleuze, 67, 274n13; on film image as psychological and analogical sign, 68–70, 72, 79; on film symbol, 68–70, 79; influence of Dufrenne’s aesthetics on, 29, 73, 274n19; and Pasolini, 66, 67, 75, 78, 79, 81, 82, 274n26; on personality of filmmaker and aesthetic aspect of films, 219; on rhythm in film, 206, 208; and semiotics, 49, 67, 84; on worlds of films, xxi, 68, 70–71
Morin, Edgar, 212
Mulholland Drive (Lynch), 153, 195, 252
music, 10, 98, 120, 124, 143, 152, 196, 200, 203, 208; and allusion, 182; and cinematic affect and emotion, 166, 172, 188; in diegetic world, 20–24; in films, 8, 32, 65, 166, 207, 209; nondiegetic, 21–23
narrative, xvi, xvii, xviii, xix, xx, 4–5, 8, 17, 18, 19, 20, 21, 31–32, 29, 65, 80, 162, 166, 184–85, 202–203, 226, 247, 248, 260; comprehension of filmic, 28, 30, 78, 105, 144, 165, 187, 242, 243, 250, 253, 281n39, 286n19; and cognitive-diegetic expression and immersion, 176–77, 179, 180, 187–88. See also extranarrative features of films
narration, 26, 32, 88, 100, 185, 271n32; theories of film, xvi, xvii, 20, 28, 31, 243
non-narrative cinema, xix, 33, 168, 208, 261
Once upon a Time in the West (Leone), 95
One Plus One (Godard), 107
ordering, 87, 93, 95–101, 103, 111, 124, 128, 131, 132
Orr, John, 33
Othello (Welles), 151
painting, 10, 33, 64, 65, 73, 97, 109, 134, 144, 148, 152, 173, 194, 200, 207, 231, 237, 239, 251, 263; and artistic exemplification, 119, 120, 121, 126; and deframing, 90; and imaginative (cognitive-diegetic) immersion, 187–88; and reflexivity, 258; styles compared with film styles, 110
Panofsky, Erwin, 49, 61, 84, 211–12
Paris, Texas (Wenders), 104, 115
Pascoe, David, 57–58
Pasolini, Pier Paolo, xxiii, 33, 75–83, 275n41; on the aesthetic dimension of cinema, 79–81, 193; analogies between filmmaking and poetry, 78, 83; and Cassirer, 77, 156; concept of imsigns, 76–82, 155; and Deleuze, 77, 81; on filmic materials and im-signs, 82–84, 173; on filmmakers as expressing artists, 79–81, 214; and film semiotics, 49, 66, 67, 274n26; and Goodman on art and symbolic world-making, 86, 87, 89, 92; and Mitry, 66, 75, 78, 79, 80, 81, 83, 162
The Passion of Joan of Arc (Dreyer), 93
Paths of Glory (Kubrick), 177
Peeping Tom (Powell), 132, 264
perception, 76, 88, 94, 96, 133, 191, 194, 211, 212, 231, 256; aesthetic, xvii, xviii, 128, 149, 150, 185, 231, 251, 282n45; and artistic exemplification, 119, 132; in cinematic experience, 13, 15, 22, 28, 90, 105–106, 112, 128, 179, 186–87, 189; and film affect, 163, 165, 169, 171, 175, 178, 181, 183, 184, 199; of film images, 27, 67, 69, 115–17, 277n4; film world’s transformation of, 12, 64, 94, 250, 255–56; lived (embodied), 11, 285n5; phenomenology of, 11, 284n54; psychology of, 102, 276n27; reduction of cinematic works to, 14, 16, 34, 116; and symbolization, 48, 50, 56, 96, 102
The Perfect Human (Leth), 94, 108
Performance (Roeg), 104
Perkins, Victor F., 18, 19, 24, 25, 32, 98, 274n23, 281n36
Persona (Bergman), 98, 99, 104
phenomenological aesthetics, xx, xxi, 157, 191, 231
phenomenology, xv, 10, 11; of aesthetic experience, 191–226; of film, xxi, 13, 34, 67, 168, 213, 231; of film worlds, 157
photography, 65, 117, 144, 239; photographic basis of cinema, xvii, 16, 53, 61, 65, 116, 247; and framing/deframing, 89; and representation as denotation, 115
Pierrot le fou (Godard), 107
Plantinga, Carl, 135, 164, 165, 166, 167, 169, 195
play (and art), 6, 232, 233. See also games
Le pont des arts (Green), 154
The Portuguese Nun (Green), 154
presentational form, 52, 66, 75, 129, 175
The Prestige (Nolan), 131
Prinz, Jesse I., 171
Psycho (Hitchcock), 131, 177, 181–82, 183
Pudovkin, V. I., 61, 129, 171, 208
quasi-subject: aesthetic object as, 212, 213; film as, 213, 284n54
realism: philosophical, 22, 56; photographic, 73, 169; realist film theory, xxi, 61, 67, 247, 274n23, 286n26; of style, 25, 74, 98, 134, 165, 178, 247
Rear Window (Hitchcock), 135
Red Desert (Antonioni), 33, 174
reframing, 92
reflexivity (self-reflexivity), xxiv, 34, 63, 80, 81, 93, 94, 100, 104, 108, 129, 139, 140, 143, 146, 148, 151, 182, 205, 224, 276n22, 279n4; of cinematic form vs. film medium, 133–34, 278n44; and cinematic immersion, 134, 225; and fictional worlds, 19, 25, 32–33, 134; and illusion, 134; and film-world truth, 246, 258; and relation between world-in and world-of films, 32–33, 131, 134, 136; as symbolic exemplification, 125, 130–36; theories of, 130, 134, 135, 137, 258
La règle du jeu (Renoir), 216, 246, 262
representation: vs. artistic presentation, 23, 33, 34, 59, 137; vs. expression in artwork, 27, 29, 72, 73, 193, 194–96, 213, 214; vs. expression in cinematic art, 27–29, 70, 72–74, 75, 79–80, 83, 117, 181, 120, 193–97, 251; as symbolic denotation, 26, 27, 30, 31, 33, 73, 92, 115–18, 122, 124, 138, 144, 146, 281n27. See also mimesis; symbolization; world, represented
Ricœur, Paul, 54, 149, 230, 238, 240, 242, 243, 274n19; on Goodman’s aesthetics, 54, 149
Robinson, Jenefer, 116
Russian Ark (Sokurov), 129
Ryan, Marie-Laure, 5
rhythm, 120; of aesthetic object, 207, 211; and experiential worlds, 210, 211; in film, xxiv, 8, 95, 126, 171, 191, 199, 206–210, 211, 216; and global cineaesthetic world-feeling, 199, 206, 211, 214, 216; and lived (felt) time, xxiv, 207, 209
The Sacrifice (Tarkovsky), 174, 221, 248
The Saragossa Manuscript (Has), 153
Sarris, Andrew, xv, 182, 215–16, 219, 223
Sauve qui peut (Godard), 209–210
Schaeffer, Jean-Marie, 150
science, 43, 50, 54, 55, 56, 121
The Searchers (Ford), 104, 153
semiotics, 44–45; of film, 20, 30, 45, 47, 49, 66, 67, 84, 86, 96, 272n10, 274n26, 285n3; pragmatic-instrumentalist tradition of, 45–46, 47; Saussurean linguistic tradition of, 46–47, 49. See also Metz; Mitry; Pasolini; symbolization
sensory-affective expression, xxiv, 170–81, 183, 184, 186, 189, 197, 224, 239, 281n26, 281n27
The Seventh Seal (Bergman) 151
The Shining (Kubrick), 94, 138–39
Sinnerbrink, Robert, 195, 282n13
The Skin I Live In (Almodovar), 131
Smoking / No Smoking (Renais), 98
Sobchack, Vivian, 11, 13, 278n44, 284n54
Solaris (Tarkovsky), 220
Some Came Running (Minnelli), 140, 142
Sontag, Susan, 154
sound, 8, 90, 95, 111, 112, 138, 151, 255; and cinematic affect and emotion, 163, 165, 170, 172, 174, 176, 178, 181, 182, 188, 197, 199, 209; and deletion/supplementation, 105, 107; and diegetic world, 21–24, 32, 33. See also music
Soy Cuba (Kalatozov), 264
Stilwell, Robynn J., 24
structure (Gebilde) (of artwork), 233
style: and artistic exemplification, 126, 129, 139, 149–54; and cinematic truth, 247, 248, 253, 259; conceptions of, xvii, 88, 112, 149, 214–15, 218; of filmmaker as artist, 77, 80, 81, 83, 103, 108, 109, 111, 139, 147, 190, 214–22; and film world-markers, xxiv, 151–53; and film world-types, xxiv, 153–55; and global cineaesthetic world-feeling, 201, 214–16, 219, 221; recognition and interpretation of, 73, 74, 149–54; reflexivity as feature of, 125, 136
supplementation, 87, 102–107, 112
Suzhou River (Ye), 108
symbol: aesthetic function of, 148; opacity of, 58–59, 120, 147; semantic openness of, 146–47; vs. sign, 48, 51, 58–59, 67, 68, 73, 85, 119, 120, 146. See also symbolization
symbolic form, 47, 50, 51, 52, 54, 56, 59, 66, 101, 114, 119, 138
symbolization: Cassirer’s philosophy of, 49–54; and cultural worlds, 43; and expressivist tradition, 47–49; theories of, 44–49. See also Cassirer; denotation; exemplification; Goodman; im-sign; Langer; Mitry; semiotics; symbol; symbolic form
Syndromes and a Century (Weerasethakul), 177
Tan, Ed S., 164, 166–67, 180, 182
Tarkovsky, Andrey, 104, 154, 174, 197, 220, 221, 247, 248; on artistic expression of films and filmmakers, 104, 154, 210, 211; on cinematic rhythm, 208, 209, 210, 211; on editing, 104, 209; on time and cinema, 208, 209, 210; on worlds of films, 211. See also Andrei Rublev (Tarkovsky); Ivan’s Childhood (Tarkovsky); The Sacrifice (Tarkovsky); Solaris (Tarkovsky); Stalker (Tarkovsky)
Taylor, Charles, 230, 237, 285n12
technology: evolution of technology vs. aesthetics, 194; of filmmaking, 12, 91, 110, 132, 178, 194; of film viewing, 132, 186, 192
Ten (Kiarostami), 105
theater (drama), 42, 65, 124, 134, 207, 224, 231, 233
Thompson, Kristin, xvii, 79, 128, 250, 276n30, 281n39, 283n26
Three Colors: Blue (Kieslowski), 33
Three Colors: Red (Kieslowski), 92
Three Colors: White (Kieslowski), 127
Through a Glass Darkly (Bergman), 252
time: actual or running time, 34, 201–206, 283n26; expressed (of aesthetic object), 191, 202, 211, 212, 213; lived (felt), xxiv, 34, 201–206, 207, 208, 209, 210, 211, 212, 213, 266, 283n26; represented (fictional), 3, 20, 21, 30, 34, 39, 97, 106, 115, 201–206, 210, 267, 283n26. See also Deleuze, time-image; duration
Timecode (Figgis), 106
time-image. See Deleuze
Tokyo Story (Ozu), 148
Tolkien, J. R. R., 10
Touch of Evil (Welles), 203, 205
Tout va bien (Godard), 126
tradition: artistic and cultural, xxv, 42, 123, 126, 235–36, 237, 241, 258, 266, 285n10; cinematic, xxv, 88, 109, 126, 154, 235–36, 237, 238, 241, 245, 246, 257–258, 266. See also hermeneutics
Trans-Europe Express (Robbe-Grillet), 153
transformation: in film world-making, xiv, 12, 13, 34, 55, 58, 59, 60–85, 86–113, 152, 155; of film world materials, 60, 62–66, 76–78, 82, 87–88, 92, 137, 150, 152, 172, 174, 235, 253, 255; of quotidian reality in and by film worlds, 101, 107, 86–113, 234, 235, 249, 250, 253, 255, 26; symbolic, 55, 58, 60–85, 87, 88, 92, 101, 109, 110, 155; of viewers by film worlds, 234–235, 245
The Trial of Joan of Arc (Bresson), 93
Trouble Every Day (Denis), 197–98, 199
Truffaut, François, xxv, 62–63, 218, 246, 257, 258, 261, 262–63, 273n7. See also Day for Night (Truffaut)
truth: “cinematic,” 257–62, 264; “existential” (revealed by films), 246–57, 259, 261, 262; and fictional worlds, 4, 6, 7, 8, 9, 10; of film worlds (as art worlds), xv, xx, xxv, 29, 163, 231, 242, 246–67; revealed (as aletheia), xx, xxv, 225, 234, 242, 245, 248–51, 256, 257
Turvey, Malcolm, 165
Twin Peaks: Fire Walk with Me (Lynch), 264
2001: A Space Odyssey (Kubrick), 96, 145–46
2046 (Wong Kar-Wai), 108
Two or Three Things I Know About Her . . . (Godard), 94, 107
value (aesthetic), xv, xvii, xviii, xix, xxv, 31, 72, 149, 150, 154, 155, 179, 183, 208, 215, 236, 253, 260–67
Van Fraassen, Bas C., 121, 272n4
versions (symbolic and artistic), 18, 30, 54, 55, 87, 93–94, 108, 129, 200, 251–52
Vivre sa vie (Godard), 98, 140–41
Von Trier, Lars, 94, 100, 105. See also Breaking the Waves (Von Trier), Dogville (Von Trier); The Five Obstructions (Von Trier)
Voyage to Italy (Rossellini), 142
A Walk Through H (Greenaway), 55
Walton, Kendall L., 6, 7, 17, 232
weighting (or emphasizing), 87, 93–95, 101, 103, 111, 124, 140
Welles, Orson, 97, 203, 205, 210, 237, 241. See also Citizen Kane (Welles); Othello (Welles); Touch of Evil (Welles)
Werckmeister Harmonies (Tarr), 154, 203
Wild Strawberries (Bergman), 104
Wilson, George, 31
Wittgenstein, Ludwig, 4, 165, 260
Wollen, Peter, 15, 47, 49, 217, 284n66
Wolterstorff, Nicholas, 8
Woman in the Dunes (Hiroshi), 91
Wong Kar-wai, 108–109
world atmosphere (of artworks), 54, 195, 206, 214, 223
world, diegetic, xxii, xxiv, 3, 14, 20–27, 30–32, 46, 64, 70, 107, 123–24, 136, 165–68, 176, 186, 195, 205, 271n32. See also cognitive-diegetic expression; diegetic/nondiegetic distinction
world, expressed (of aesthetic object), 27, 190, 192, 202, 212, 213, 216, 220
world-feeling, xxiv, xxv, 54, 138, 169, 170, 189, 190–201, 206, 212–23, 257, 282n16. See also global cineaesthetic expression
world-in: in films, 3, 25, 31, 32, 33–34, 62, 64, 74, 81, 85, 90, 92, 100, 107, 115, 124, 137, 142, 145, 153, 166, 180, 182, 187, 188, 189, 248; and (self-)reflexivity, 131, 134, 136; time of, 202, 206, 205. See also world, diegetic; world, fictional; world, represented
world-making, xix, xx, xxiii, 5, 56, 58, 72, 81, 86–115, 124, 128, 131, 132, 140, 142, 150, 152, 155, 156, 173, 179, 219, 234, 255, 261, 276n38; five processes of, 86–113; as re-making, 55, 87, 110, 236. See also composition/decomposition; deformation; deletion; Goodman; supplementation; ordering; weighting
world-markers, xxiv, 149–55, 181, 195, 257, 259
world-of: films as artworks, 16, 23, 25, 26, 33, 68, 123, 142, 182; as distinct from world-in, 3, 4, 23, 33, 70, 123, 131, 148, 153, 167, 192, 201, 235; and (self-) reflexivity, 131, 136; as synonymous with a film world, 34; time and space of, 34, 205
world, represented (of aesthetic object), 28–30, 193, 194, 202, 212
worlds, fictional, xxii, 4–7, 17–21, 22–25, 27–28, 31–34, 40, 42, 73, 74, 81, 134, 137, 145, 151, 153, 166, 182, 187, 193, 201, 202, 206, 270n4. See also world-in; world, diegetic; world, represented; worlds, possible worlds, possible, 5, 42, 270n4
worldview (Weltanschauung), 46, 47, 72, 217, 219, 214, 215
Young and Innocent (Hitchcock), 94
A Zed and Two Noughts (Greenaway), 57