Spencer Shaw is a lecturer (of rhetoric and negotiations) at the International Copenhagen Business School and Open University. He lives in Copenhagen.

“recommended”—Choice.

• Table of ContentsAcknowledgments      Preface      Introduction      1. PHENOMENOLOGY AND FILMOrigins      The Spectrum of Film Consciousness      Dialectic Misgivings      2. PHENOMENOLOGICAL GROUNDINGRealist Theory      Real to Reel      Lifeworld Encounters      Intentionality      Phenomenological Hermeneutics      Gadamer’s Play      3. BODY AND TRANSCENDENCEMerleau-Ponty’s Embodiment      Expression to Meaning      Bazin’s Ontology      The Negating Self      Transcendental Survival      4. REEL TIMETemporal Objectivities      Self-Constituting Flux      Internal Time-Consciousness      Future Expectation      Bergson: Movement and Intermediate Imagery      Reelising Memory      Bridging Gaps      5. WALTER BENJAMIN: THE NEW REALM OF FILM CONSCIOUSNESSMaterialism and Allegory      Dialectical Images      Mechanical Reproduction and Aura      Returning the Gaze: Aura Transformed      Benjamin and Surrealism      Distraction and Innervation      6. DELEUZE AND CINEMAMontage and Movement-Image      Eisenstein Montage      Imaging Thought Process      Affectivity and the Interval      Vertov and the Machinic      Liquid Subjectivity      7. MARKING TIMEThinking Otherwise      Forks of Time      Aberrance and Problem Ideas      The Split Self      Time-Out-of-Joint      Film Events      Outside of Film      Chapter Notes      Bibliography      Index

Spencer Shaw is a lecturer (of rhetoric and negotiations) at the International Copenhagen Business School and Open University. He lives in Copenhagen.

“recommended”—Choice.

• Table of ContentsAcknowledgments      Preface      Introduction      1. PHENOMENOLOGY AND FILMOrigins      The Spectrum of Film Consciousness      Dialectic Misgivings      2. PHENOMENOLOGICAL GROUNDINGRealist Theory      Real to Reel      Lifeworld Encounters      Intentionality      Phenomenological Hermeneutics      Gadamer’s Play      3. BODY AND TRANSCENDENCEMerleau-Ponty’s Embodiment      Expression to Meaning      Bazin’s Ontology      The Negating Self      Transcendental Survival      4. REEL TIMETemporal Objectivities      Self-Constituting Flux      Internal Time-Consciousness      Future Expectation      Bergson: Movement and Intermediate Imagery      Reelising Memory      Bridging Gaps      5. WALTER BENJAMIN: THE NEW REALM OF FILM CONSCIOUSNESSMaterialism and Allegory      Dialectical Images      Mechanical Reproduction and Aura      Returning the Gaze: Aura Transformed      Benjamin and Surrealism      Distraction and Innervation      6. DELEUZE AND CINEMAMontage and Movement-Image      Eisenstein Montage      Imaging Thought Process      Affectivity and the Interval      Vertov and the Machinic      Liquid Subjectivity      7. MARKING TIMEThinking Otherwise      Forks of Time      Aberrance and Problem Ideas      The Split Self      Time-Out-of-Joint      Film Events      Outside of Film      Chapter Notes      Bibliography      Index

Spencer Shaw is a lecturer (of rhetoric and negotiations) at the International Copenhagen Business School and Open University. He lives in Copenhagen.

“recommended”—Choice.

• Table of ContentsAcknowledgments      Preface      Introduction      1. PHENOMENOLOGY AND FILMOrigins      The Spectrum of Film Consciousness      Dialectic Misgivings      2. PHENOMENOLOGICAL GROUNDINGRealist Theory      Real to Reel      Lifeworld Encounters      Intentionality      Phenomenological Hermeneutics      Gadamer’s Play      3. BODY AND TRANSCENDENCEMerleau-Ponty’s Embodiment      Expression to Meaning      Bazin’s Ontology      The Negating Self      Transcendental Survival      4. REEL TIMETemporal Objectivities      Self-Constituting Flux      Internal Time-Consciousness      Future Expectation      Bergson: Movement and Intermediate Imagery      Reelising Memory      Bridging Gaps      5. WALTER BENJAMIN: THE NEW REALM OF FILM CONSCIOUSNESSMaterialism and Allegory      Dialectical Images      Mechanical Reproduction and Aura      Returning the Gaze: Aura Transformed      Benjamin and Surrealism      Distraction and Innervation      6. DELEUZE AND CINEMAMontage and Movement-Image      Eisenstein Montage      Imaging Thought Process      Affectivity and the Interval      Vertov and the Machinic      Liquid Subjectivity      7. MARKING TIMEThinking Otherwise      Forks of Time      Aberrance and Problem Ideas      The Split Self      Time-Out-of-Joint      Film Events      Outside of Film      Chapter Notes      Bibliography      Index