Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. List of Figures vii
4. Acknowledgments ix
5. Notes on Contributors xi
6. Introduction: Toward a Critical Phenomenology of “Film Work” 1
7. Part 1: Temporality
8. 1. The Psychology and Phenomenology of Play in Céline Sciamma’s Petite Maman 27
9. 2. Phenomenology in the Kitchen: Feeling Time Like a Feminist 41
10. 3. For a Critical Phenomenology of Montage: John Akomfrah’s Vertigo Sea—with Maurice Merleau-Ponty and Karen Barad 61
11. 4. The Khôra-Screen: Responsibility as a Precarious Intimacy in Agnès Varda’s One Sings, the Other Doesn’t 78
12. Part 2: Embodiment
13. 5. Human as Cosmos in Bill Viola’s Five Angels for the Millennium: The Scattered Body of Scalar Configurations 103
14. 6. The Posthumous Phenomenology of the Star Biopic: Kristen Stewart as Jean Seberg in Seberg 122
15. 7. The Assassination of Marilyn Monroe by the Coward Andrew Dominik: An Existentialist Phenomenology of Cinematic Imagination 141
16. 8. Eco Soma Methods and Disability Film Dance: Moving, Stumbling, Sliding 167
17. 9. Echoing Images: Dark Reverberation and the Bachelardian Imagination of Folk Horror in Alex Garland’s Men 185
18. Part 3: Transformation
19. 10. “A braid of partial syntheses”: Husserl’s Redetermination and the Visual Excess of the (K)not 205
20. 11. New Phenomenological Approaches to Affect, Mood, and Atmospheres 226
21. 12. Swimming in Moonlight: On Viewing Black Masculinity Differently with bell hooks 246
22. 13. AI Phenomenology: Breath, Machine Learning, and Husserl, Polanyi, and Grosz’s Relational Kinesthesia 271
23. Index 287