How It Feels: Black Screen as Negative Event in Early Cinema and 9/11 Films.
In this essay I engage the perspective of film phenomenology to analyze the black screen as a frame-breaking negative experience, based on an understanding of cinema as event. Relying on Vivian Sobchack's phenomenological approach and taking inspiration from Cecil M. Hepworth's How It Feels to Be Ru...
| Publicado en: | Studia Phaenomenologica Vol. 16; pp. 409 - 439 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
Zeta Books
2016
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=119260433&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 119260433 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 15825647 8XIP jtl: Studia Phaenomenologica issn: 15825647 maglogo: N pubinfo: dt: 2016 vid: 16 pid: 71195 pub: Zeta Books artinfo: ui: 119260433 ppf: 409 ppct: 30 formats: fmt: @attributes: type: P size: 1.5MB tig: atl: How It Feels: Black Screen as Negative Event in Early Cinema and 9/11 Films. aug: au: Shilina-Conte, Tanya affil: State University of New York at Buffalo su: Phenomenology & literature Filmmaking Goffman, Erving, 1922-1982 Appreciation of motion pictures Style (Motion pictures) Stills (Motion pictures) sug: subj: Phenomenology & literature Filmmaking Goffman, Erving, 1922-1982 Appreciation of motion pictures Style (Motion pictures) Stills (Motion pictures) keyword: black screen cinema as event early cinema film phenomenology frame breaking negative experience ab: In this essay I engage the perspective of film phenomenology to analyze the black screen as a frame-breaking negative experience, based on an understanding of cinema as event. Relying on Vivian Sobchack's phenomenological approach and taking inspiration from Cecil M. Hepworth's How It Feels to Be Run Over (1900), a case in point for a method predicated on the question of "how," I place emphasis on the "film's body" and consciousness which, through its own paralysis and impairment, affects the spectator's lived-body. Following the terminology of sociologist Erving Goffman, I approach both a car accident at the turn of the twentieth century and 9/11 on the cusp of the new millennium as frame-breaking events that generate a profound negative experience. I then describe the black screen in 9/11 films as a frame-breaking occurrence that creates a negative event in its own right. The encounter with the breakage of the conventional mechanisms and modes of the "film's body" as well as the forced sensory shift lead the spectator to a heightened awareness of his/her own body as a receiving medium that empathetically partakes in the experience of a negative event at the scene of cinema, both perceptually and reflexively. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Studia Phaenomenologica is the property of Zeta Books and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Studia Phaenomenologica holder: Zeta Books dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
|---|