Lexington Books
Pages: 220
•
Trim: 6¼ x 9½
978-1-4985-1902-1 • Hardback • August 2017 • $117.00 • (£90.00)
978-1-4985-1903-8 • eBook • August 2017 • $111.00 • (£85.00)
Shawn Loht is institutional researcher at Baton Rouge Community College.
Preface
Acknowledgements
Chapter One: Precis to a Heideggerian Phenomenology of Film
Chapter Two: Heidegger’s Being and Time: Film Experience as Being-in-the-World
Chapter Three: Film and Heidegger’s Philosophy of Art
Chapter Four: Phenomenology and the Concept of Film-as-Philosophy
Chapter Five: Terrence Malick
Chapter Six: Michael Haneke’s Code Unknown and The White Ribbon
Chapter Seven: David Gordon Green’s Joe, and an Afterword
Bibliography
Articles with Heideggerian interpretations of films have appeared over the years, but this is the first book length study, and its about time.... The text is refeshingly personal for a philosophy book.— Ereignis
Articles with Heideggerian interpretations of films have appeared over the years, but this is the first book length study, and its about time.... The text is refeshingly personal for a philosophy book.— Ereignis
Shawn Loht has broken new ground in bringing a Heideggerian way of thinking to philosophical film theory. He not only develops a rich phenomenological approach to cinematic engagement via Heidegger's account of being-in-the-world but also offers an original perspective on the debate over the idea film as philosophy. With illuminating chapters exploring the films of Terrence Malick, Michael Haneke, and David Gordon Green, Loht's book promises to rejuvenate phenomenological film theory by staging an admirably lucid philosophical encounter between Heidegger and cinema.— Robert Sinnerbrink, Macquarie University
Loht’s Phenomenology of Film offers an original and productive contribution to contemporary film phenomenology. It shows how a Heideggerian approach to phenomenological inquiry provides a rich basis for theorising otherwise neglected aspects of film experience (such as the disclosive role of moods and importance of film worlds) but also helps us to understand the ontological dimensions of cinematic disclosure while offering new ways of treating cinema phenomenologically as a way of thinking and experiencing the world. The articles assembled in this dossier explore as well as challenge and question Loht’s approach, but all are united in acknowledging his important contribution to contemporary film phenomenology.
— Film-Philosophy
PAF is written in a clear and direct style and is accessible to readers who might be unfamiliar with highly technical philosophy like Heidegger’s. It will greatly appeal to film theorist and film-philosophers, students and scholars of philosophy, and educators interested teaching philosophy-through-film to their university students. Loht’s scholarship admirably contributes new thoughts to, and indeed invigorates, the field of film-as-philosophy. Loht effectively confronts Heidegger’s phenomenological ontology in order to convincingly and successfully think with and then beyond Heidegger, offering us an original and illuminating study into the phenomenological-ontological aspects of film-as-philosophy.— Film-Philosophy
Phenomenology of Film is written in a clear and direct style and is accessible to readers who might be unfamiliar with the highly technical philosophy of Heidegger. It will greatly appeal to film theorists and film-philosophers, students and scholars of philosophy, and educators incorporating the philosophy-through-film approach in their classrooms. Loht’s scholarship admirably contributes new thoughts to, and indeed invigorates, the field of film-as-philosophy. Loht effectively confronts Heidegger’s phenomenological ontology in order convincingly and successfully to think with and then beyond Heidegger, offering us an original and illuminating study into the phenomenological-ontological aspects of film-as-philosophy.— Senses Of Cinema
[I]n a highly effective and unique manner Loht engages – confronts– Heidegger’s phenomenological ontology and uses it to convincingly and successfully think with and then beyond Heidegger, offering us an original and illuminating study of the phenomenological-ontological aspects of film-as-philosophy. . . Loht’s book, in my estimation, will have a wide appeal to practitioners within a myriad of disciplines. . . This is Loht’s first monograph as a philosopher, and this book gives the positive impression that his future publications will be, much like this impressive text, books that challenge orthodoxy and push hard against comfortable, complacent, and even dogmatic, philosophical interpretations.
— Comparative and Continental Philosophy
Shawn Loht has broken new ground in bringing a Heideggerian way of thinking to philosophical film theory. He not only develops a rich phenomenological approach to cinematic engagement via Heidegger's account of being-in-the-world but also offers an original perspective on the debate over the idea film as philosophy. With illuminating chapters exploring the films of Terrence Malick, Michael Haneke, and David Gordon Green, Loht's book promises to rejuvenate phenomenological film theory by staging an admirably lucid philosophical encounter between Heidegger and cinema.— Robert Sinnerbrink, Macquarie University