This book identifies a new methodological strategy for the interpretation of film philosophizing. Many recent works in film philosophy, adopting the approach identified with the term film as philosophy, have considered film as capable of doing philosophy. Focused on the basic relationship between film and filmgoer, the proposed method is founded on the concept of the film world. Combining Merleau-Ponty’s and Ricœur’s philosophies, and reconsidering Goodman’s theory of worldmaking, the film world becomes the hermeneutic horizon from which film philosophical thought can emerge. The book shows how Ricœurian methodology has the potential to provide a valuable resource for film studies by inviting scholars to consider film interpretation in terms of film world hermeneutics.

A concise but comprehensive student guide to studying Emily Bronte's classic novel Wuthering Heights. It covers adaptations such as film and TV versions of the novel and student-friendly features include discussion points and a comprehensive guide to further reading.

This practical guide offers an approachable introduction to doing hermeneutic phenomenological research across the health and social sciences. Grounded in real world research, it integrates philosophy, methodology and method in accessible ways, helping you realize the potential of using phenomenology to guide research. The book maps the complete research process and shows how to apply key philosophical tenets to your project, demonstrating the close relationship between philosophy and research practice. It: Shows step-by-step how to translate philosophy into research methodology and turn methodology into robust research design Focuses on applied practice, illustrating theoretical discussions with examples and case studies Promotes advanced thinking about hermeneutic phenomenology in an easy to understand way Highlights the need for researchers to engage reflexively with the whole research process.

Phenomenology of Film: A Heideggerian Account of the Film Experience uses the philosophy of Martin Heidegger as a framework for addressing key issues in the philosophy of film. This study grapples with the question of how we can reconcile film as a popular entertainment medium with Heidegger’s own various critiques of popular media and culture throughout his career. Shawn Loht also explores topics such as the ontology of film and moving images; the phenomenological character of the viewer experience; film conceived as an art medium; and the function of films as vehicles for philosophical thought. He further discusses important concepts from Heidegger’s philosophy--Dasein, existentiality, world, art and poetry, and the nature of philosophy. The first four chapters take up these issues from a theoretical perspective. The remaining chapters provide robust application of the theoretical material to the films of three contemporary filmmakers: Terrence Malick, Michael Haneke, and David Gordon Green. As the first single-author monograph that takes up Heidegger’s relevance to film, Phenomenology of Film will be of particular interest to philosophers of film and specialists of film and media studies working in the intersection of phenomenology and film or phenomenological approaches to issues in popular culture.

The Ethics of Time utilizes the resources of phenomenology and hermeneutics to explore this under-charted field of philosophical inquiry. Its rigorous analyses of such phenomena as waiting, memory, and the body are carried out phenomenologically, as it engages in a hermeneutical reading of such classical texts as Augustine's Confessions and Sophocles's Oedipus Rex, among others. The Ethics of Time takes seriously phenomenology's claim of a consciousness both constituting time and being constituted by time. This claim has some important implications for the “ethical” self or, rather, for the ways in which such a self informed by time, might come to understand anew the problems of imperfection and ethical goodness. Even though a strictly philosophical endeavour, this book engages knowledgeably and deftly with subjects across literature, theology and the arts and will be of interest to scholars throughout these disciplines.

This book shows how a masterpiece of experimental cinema can be interpreted through hermeneutics of the film world. As an application of Ricœurian methodology to a non-narrative film, the book calls into question the fundamental concept of the film world. Firmly rooted within the context of experimental cinema, Stan Brakhage’s Dog Star Man was not created on the basis of a narrative structure and representation of characters, places and events, but on very different presuppositions. The techniques with which Brakhage worked on celluloid and used frames as canvases, as well as his choice to make the film without dialogue and sound, exhort the interpreter to directly question the philosophical language of moving images.