By Daniel Frampton
Filmosophy is a provocative new manifesto for a significantly philosophical means of figuring out cinema. It coalesces twentieth-century rules of movie as proposal (from Hugo Münsterberg to Gilles Deleuze) right into a sensible conception of "film-thinking," arguing that movie type conveys poetic principles via a relentless dramatic "intent" concerning the characters, areas, and occasions of movie. Discussing modern filmmakers reminiscent of Béla Tarr and the Dardenne brothers, this well timed contribution to the research of movie and philosophy will impress debate between audiences and filmmakers alike.
FILMOSOPHY ® is a registered U.S. trademark owned through Valentin Stoilov (www.filmosophy.com) for academic companies within the box of movie historical past thought and construction. Mr. Stoilov isn't the resource or beginning of this booklet and has now not backed or recommended it or its author.
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Additional info for Filmosophy
Colin MacCabe and John O. Thompson, for inspiring and jumpstarting the whole caboodle. Birkbeck College and the British Film Institute. The British Academy; Paul, Malcolm and James at Channel Films; and John Sayers at Firefilms, for their financial assistance. Laura Mulvey, for shaking some sense into the text. Giles Frampton and Cynthia Clerk, for putting me up. Ian Christie and Geoffrey Nowell-Smith, for their critiques. D. N. Rodowick and Lionel Bently, for their encouragement and advice. Yoram Allon and the team at Wallflower Press.
This is the realm of the fictional character’s mind. The writers of this section illustrate film as character eye, as character experience, or as character mind – and perhaps try to suggest that film is mostly character-subjective. 24 He also wrote scenarios for numerous unmade films which revolved around the possibilities of filming (character) thought – as with ’Eighteen Seconds’, in which the events to be on screen would be almost entirely made up of one character’s thoughts, such that his eighteen seconds of thinking take and hour or two to show on screen.
To creatively and positively handle these new forms film studies needs a conception of film-world creation, and a descriptive language of film style, that are both adaptable and poetic. The filmind is not an empirical description of film, but rather a conceptual understanding of the origins of film’s actions and events. That is, the filmgoer can decide to use it as part of their conceptual apparatus while experiencing a film – they would then see the film through this concept. Filmosophy conceptualises film as an organic intelligence: a ’film being’ thinking about the characters and subjects in the film.
Filmosophy by Daniel Frampton