RTS711 Cinema Ontology

Information

Course Goal / Objective

The primary objective of this course is to engage with cinema not merely as an art form or a mode of expression but as a medium requiring ontological and phenomenological inquiry. Students will develop the ability to critically question the fundamental nature of the cinematic image by exploring the interrelations between cinema, movement, time, memory, phenomenology, existence, and experience. The course will also explore how philosophical reflection on cinema contributes to a deeper understanding of its fundamental materials.

Course Content

This course explores the ontology of cinema and the philosophical inquiries regarding the origins of cinema. The concept of "origin" in this context is understood as an inquiry into the essence of cinema. The course raises fundamental questions such as: Is cinema a narrative form composed of blocks of movement and time? Can cinema be conceived independently of our experience? Students will examine ontological, phenomenological, and metaphysical approaches to the nature of the cinematic image, critically analyzing the fundamental components of cinema. The course includes theoretical discussions on cinema and time, movement and memory, rhythmic design, phenomenological experience, and cinematic thought.

Course Precondition

There is no prerequisite.

Resources

André Bazin (2005). What is Cinema? Henri Bergson (1896). Matter and Memory Yvette Biro (2008). Sinemada Zaman: Ritmik Tasarım, Türbülans ve Akış Ronald Bogue (2003). Deleuze and Guattari Claire Colebrook (2002). Gilles Deleuze Gilles Deleuze (1986). Cinema 1: The Movement-Image Gilles Deleuze (1989). Cinema 2: The Time-Image Gilles Deleuze (1995). Negotiations Gilles Deleuze (1966). Bergsonism Gilles Deleuze, Félix Guattari (1994). What is Philosophy? Gilles Deleuze (1997). The Brain is the Screen Gilles Deleuze (1988). Spinoza: Practical Philosophy Sergei Eisenstein (1973). Film Form: Essays in Film Theory Daniel Frampton (2006). Filmosophy Patricia Pisters (2003). The Matrix of Visual Culture: Working with Deleuze in Film Theory Jacques Rancière (2009). The Emancipated Spectator Jacques Rancière (2001). The Cinematic Fable D.N. Rodowick (1997). Gilles Deleuze’s Time Machine Vivian Sobchack (1992). The Address of the Eye: A Phenomenology of Film Experience Dan Zahavi (2003). Husserl’s Phenomenology Stanley Cavell (1979). The World Viewed: Reflections on the Ontology of Film Noël Carroll (1996). Theorizing the Moving Image David Bordwell (2006). The Way Hollywood Tells It: Story and Style in Modern Movies Laura Mulvey (1975). Visual Pleasure and Narrative Cinema Edward Branigan (1984). Point of View in the Cinema Tom Gunning (1986). The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde Christian Metz (1974). Film Language: A Semiotics of the Cinema Stephen Prince (1996). Screening Violence Thomas Elsaesser & Malte Hagener (2010). Film Theory: An Introduction Through the Senses Raymond Bellour (2000). The Analysis of Film Jonathan Crary (1999). Suspensions of Perception: Attention, Spectacle, and Modern Culture Paul Schrader (1972). Transcendental Style in Film: Ozu, Bresson, Dreyer

Notes

Course Notes

Course Learning Outcomes

Relation with Program Learning Outcome

Week Plan

Student Workload - ECTS