Machine generated contents note: pt. I Definition of the Method -- Film and Philosophy -- Relationship Between Film and Philosophy -- Possible Approaches to Film Philosophy -- Film as Philosophy -- Towards a New Methodological Approach to FaP -- References -- Phenomenology of Film --Phenomenology as the Presupposition of Hermeneutics -- Embodiment, Intentionality and the Synthetic and Synaesthetic Process -- Film Experience as (Re)perception -- Film World Through Phenomenology and Hermeneutics --References -- Film Worlds -- Films as Film Worlds -- Film World as Experienceable Expression and Analysable Object -- Film Worlds Making -- Film World as Hermeneutic Horizon --References --Hermeneutics of Film -- Merleau-Ponty's Phenomenology and Ricœur's Hermeneutics -- Film Interpretation -- Ricœurian Hermeneutics of Film -- Hermeneutic Methodologies in Film -- References -- Film Hermeneutic Method -- Hermeneutics and Method -- Ricœur's Symbolic Interpretation and the Conflict of Interpretations -- Dialectic of Understanding and Explanation -- Schematizing Ricœur's Hermeneutic Method Towards a Hermeneutic Method for Film Interpretation -- Structure and Phases of the Method -- Structure of the Method -- References -- Application of the Method -- Case Studies -- Case Study Research --Case Studies and Film Worlds -- References -- Manhattan: The Film World as Identity -- Phase 1: Naive Understanding -- Phase 2: From Explanation to In-Depth Understanding -- Phase 3: Critical Understanding and Appropriation -- References -- King of Comedy: The Film World as Representation -- Phase 1: Naive Understanding -- Phase 2: From Explanation to in-Depth Understanding -- Phase 3: Critical Understanding and Appropriation -- References -- Pretty Woman: The Film World as Dream Phase 1: Naive Understanding -- Phase 2: From Explanation to In-Depth Understanding -- Phase 3: Critical Understanding and Appropriation --References.
Readership Map
Content Distribution
Machine generated contents note: pt. I Definition of the Method -- Film and Philosophy -- Relationship Between Film and Philosophy -- Possible Approaches to Film Philosophy -- Film as Philosophy -- Towards a New Methodological Approach to FaP -- References -- Phenomenology of Film --Phenomenology as the Presupposition of Hermeneutics -- Embodiment, Intentionality and the Synthetic and Synaesthetic Process -- Film Experience as (Re)perception -- Film World Through Phenomenology and Hermeneutics --References -- Film Worlds -- Films as Film Worlds -- Film World as Experienceable Expression and Analysable Object -- Film Worlds Making -- Film World as Hermeneutic Horizon --References --Hermeneutics of Film -- Merleau-Ponty's Phenomenology and Ricœur's Hermeneutics -- Film Interpretation -- Ricœurian Hermeneutics of Film -- Hermeneutic Methodologies in Film -- References -- Film Hermeneutic Method -- Hermeneutics and Method -- Ricœur's Symbolic Interpretation and the Conflict of Interpretations -- Dialectic of Understanding and Explanation -- Schematizing Ricœur's Hermeneutic Method Towards a Hermeneutic Method for Film Interpretation -- Structure and Phases of the Method -- Structure of the Method -- References -- Application of the Method -- Case Studies -- Case Study Research --Case Studies and Film Worlds -- References -- Manhattan: The Film World as Identity -- Phase 1: Naive Understanding -- Phase 2: From Explanation to In-Depth Understanding -- Phase 3: Critical Understanding and Appropriation -- References -- King of Comedy: The Film World as Representation -- Phase 1: Naive Understanding -- Phase 2: From Explanation to in-Depth Understanding -- Phase 3: Critical Understanding and Appropriation -- References -- Pretty Woman: The Film World as Dream Phase 1: Naive Understanding -- Phase 2: From Explanation to In-Depth Understanding -- Phase 3: Critical Understanding and Appropriation --References.
