Download Documentary Time: Film and Phenomenology (Visible Evidence, by Malin Wahlberg PDF

By Malin Wahlberg

Discovering the theoretical house the place cinema and philosophy meet, Malin Wahlberg’s refined method of the adventure of documentary movie aligns with makes an attempt to re-examine the premises of existential phenomenology. The configuration of time is essential in organizing the sensory impacts of movie as a rule yet, as Wahlberg adroitly demonstrates, in nonfiction motion pictures the matter of coping with time is writ huge via the relocating image’s interplay with social reminiscence and ancient figures.
 
Wahlberg discusses a thought-provoking corpus of classical and up to date experiments in movie and video (including Andy Warhol’s movies) within which inventive ways to the time of the picture and the aptitude archive reminiscence of filmic illustration illuminates meanings of temporality and time event. She additionally deals a methodological account of movie and brings Deleuze and Ricoeur into discussion with Bazin and Mitry just about cinema and phenomenology.
 
Drawing realization to the cultural importance of the images’ imprint as a hint of the previous, Documentary Time brings to undergo phenomenological inquiry on nonfiction movie whereas whilst reconsidering the existential dimensions of time that experience regularly questioned humans.
 
Malin Wahlberg is a study fellow in cinema reviews at Stockholm University.

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Additional resources for Documentary Time: Film and Phenomenology (Visible Evidence, Volume 21)

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In Bazin’s phenomenological acknowledgment of lived duration, however, there is always the recognition of aesthetic accomplishment. The photographic registration of an event is coupled with creative strategies to stress the time of the image. From this perspective realism in Nanook of the North (Robert J. Flaherty, USA, 1922) would be less about whether the representation of the Inuit family is a convincing documentation of a social 32 THE TIME-IMAGE AND THE TRACE realm, than Flaherty’s creative ability to measure the interval of an event and to frame the unfolding of drama.

23 Compared to Janicaud or Ricœur, who both argue that time is unthinkable except as mediated, Deleuze refers to Bergson in stressing the immediacy of time. However, as already suggested, the reference to Bazin and existential phenomenology is evident in Deleuze’s approach to cinema and temporality. The interrelation between Bazin, Deleuze, and Ricœur is less improbable considering their anchorage in French postwar philosophy than their incongruent interests may indicate. 24 Before a closer explanation of Ricœur’s hermeneutic approach to the philosophy of time, the present account of time experience in film demands a historical detour to the aesthetic theory and phenomenology of postwar France.

23 Compared to Janicaud or Ricœur, who both argue that time is unthinkable except as mediated, Deleuze refers to Bergson in stressing the immediacy of time. However, as already suggested, the reference to Bazin and existential phenomenology is evident in Deleuze’s approach to cinema and temporality. The interrelation between Bazin, Deleuze, and Ricœur is less improbable considering their anchorage in French postwar philosophy than their incongruent interests may indicate. 24 Before a closer explanation of Ricœur’s hermeneutic approach to the philosophy of time, the present account of time experience in film demands a historical detour to the aesthetic theory and phenomenology of postwar France.

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