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Filmosophy is a provocative new manifesto for a radically philosophical way of understanding cinema. It coalesces twentieth-century ideas of film as thought (from Hugo M& uuml;nsterberg to Gilles Deleuze) into a practical theory of "film-thinking," arguing that film style conveys poetic ideas through a constant dramatic "intent" about the characters, spaces, and events of film. Discussing contemporary filmmakers such as B& eacute;la Tarr and the Dardenne brothers, this timely contribution to the study of film and philosophy will provoke debate among audiences and filmmakers alike.
FILMOSOPHY & reg; is a registered U.S. trademark owned by Valentin Stoilov (www.filmosophy.com) for educational services in the field of motion picture history theory and production. Mr. Stoilov is not the source or origin of this book and has not sponsored or endorsed it or its author.
- Sales Rank: #1200305 in eBooks
- Published on: 2012-07-16
- Released on: 2012-07-16
- Format: Kindle eBook
Review
[An] elegant, deftly argued book... Essential.
(CHOICE) Review
About every fifteen years, it seems, contemporary film theory takes what is commonly called a 'turn.' The Psychoanalytic Turn of the Sixties and Seventies was followed by the Historiographic Turn that took us through much of the Eighties and Nineties. But now we are fully into a Philosophic Turn. Deleuze kicked off the trend in France in 1983 with his cinema books, followed by various certified philosophers exploring their passions for cinema - Bernard Stiegler, Slavoj Zizek, Alain Badiou, Giorgio Agamben, and Jacques Rancire, among others. The U.S. already had Stanley Cavell working in this area. Now, with books such as Daniel Frampton's boldly argued Filmosophy appearing, hard-line cinephilia and hardline philosophy have merged'
(Adrian Martin Cineaste)An often very engaging, always passionate attempt to get to grips with film problems that aren't going to go away.
(Tony McKibbin Senses of Cinema)An extremely daring book. Filmosophy does not present a philosophy of film, nor does it explore how film contributes material for philosophical interpretation. Rather, in a lucid and clear style, Daniel Frampton argues that film is philosophy; it is itself, aesthetical and philosophical expression - a medium for thinking-with or an accompaniment to thought. In conceptualising film as an 'organic intelligence', Frampton draws from the lessons of both Gilles Deleuze and Stanley Cavell to propose one of the most original film philosophies of the last thirty years.
(D. N. Rodowick,, Harvard University)Filmosophy is a provocative and significant intervention in the contemporary dialogue about the cinema as manifest philosophy, expressed in both thought and action. Frampton's expansive rhetoric is refreshing, his film references eclectic and his prose a pleasure to read.
(Prof. Vivian Sobchack,, University of California, Los Angeles)Filmosophy, a sprightly treatment of the ways that cinema make us think, tells us why cinephilia is deeply rooted in perception and reflection. When Frampton tells us 'the thinking of a film should be seen as free and fluid' he brings his readers to the threshold of creative criticism. Every reader will appreciate the energy, force and breadth of the author's appreciation of cinema.
(Prof. Tom Conley,, Harvard University) From the Publisher
FILMOSOPHY ® is a registered U.S. trademark owned by Valentin Stoilov for educational services in the field of motion picture history, theory and production. Mr. Stoilov is not the source or origin of this books and has not sponsored or endorsed it or its author.
Most helpful customer reviews
4 of 5 people found the following review helpful.
Practice What You Preach (Or Else...)
By Anon.
Despite the silly neologisms (such as "filmind" for film-mind, and, of course, "filmosophy") there is some solid material here on the long-standing interest, in film theory, in the relation between cinema and mind. In what way does a film "think" the things it shows us, and how is this thinking like and unlike human thinking? The strongest passages in the book evolve Frampton's explication of arguments on this subject by Münsterberg, Eisenstein and Deleuze. (The more familiar you are with this material the less likely you are to accept the book's claim to being "a manifesto for a radically new way of understanding cinema.") Where the book really fails, I think, is in failing to provide a good example of what a filmosophical engagement with individual films would actually look like. Frampton's basic argument is that approaching cinema from the position of filmosophy allows for the realization of a new, more complex engagement with the richness of the film experience. But he never demonstrates this. When he does mention a film, he rarely has more than a few sentences of commentary about it. Instead, he spends a great deal of time repeating the same series of claims that he makes in the introduction. Stating something over and over again doesn't make it so. It just makes the reader increasingly less convinced by the arguments placed in front of them...
1 of 4 people found the following review helpful.
The Future is Film
By Neil
Filmosophy is accessible for those with anything from a limited to an encyclopedic knowledge of film theory. It posits a new way of thinking through film and by film. Film poetry becomes a philosophy - a way of explaining and understanding the 21st century. This book is destined to become a set text on all graduate film courses - I enjoyed it. If this is too expensive, why not try:
Dark Windows
0 of 2 people found the following review helpful.
Five Stars
By E. Lima
great book
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