Time, Existential Presence and the Cinematic Image : : Ethics and Emergence to Being in Film / / Sam B. Girgus.

• Superior document: Title is part of eBook package: De Gruyter Edinburgh University Press Complete eBook-Package 2018
• VerfasserIn: Girgus, Sam B.,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2018
• Year of Publication: 2022
• Language: English
• Physical Description: 1 online resource (200 p.) :; 10 B/W illustrations
• Other title: Frontmatter --; Contents --; Figures --; Acknowledgements --; Introduction – Time, Existential Presence, and the Cinematic Image: Ethics and Emergence to Being in Film --; PART I The Otherness of Existence and “Spacious Temporality”: Delayed Cinema and Freedom --; CHAPTER 1 Delayed Cinema and “This Space-Time of Freedom”: De Sica’s Bicycle Thieves (1948) --; CHAPTER 2 La Demora (2012) --; CHAPTER 3 Existence and Ethics in the Dardenne Brothers’ Two Days, One Night (2015) --; PART II Western Spaces: Landscapes of Denial, Death, and Freedom --; CHAPTER 4 El Viaje: Tommy Lee Jones and the Violent Times of the Mission to Mexico --; CHAPTER 5 The American Way: Time, Death and Resurrection in Iñárritu’s Western Masterpiece --; Epilogue – Time, Spacing, and the Body in Martin Scorsese’s The Age of Innocence (1993) --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781474436250; 9783110780437
• DOI: 10.1515/9781474436250
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Sam B. Girgus.

Uses philosophical thinking on delayed cinema, time and ethics to provide a new approach to reading filmIn Time, Existential Presence and the Cinematic Image, Sam B. Girgus relates Laura Mulvey’s theory of “delayed cinema” to ideas on time and the relationship to the other in the writings of Jean-Luc Nancy, Emmanuel Levinas and Julia Kristeva, among others. The sustained tension in film between, in Mulvey’s phrase, “stillness and the moving image” enacts a drama of existential emergence. The stillness of the framed image in relation to the moving image opens “free” cinematic time and space for a fresh engagement with crucial ethical and cultural issues. With close readings of films such as The Bicycle Thieves, Two Days, One Night, The Three Burials of Melquiades Estrada, The Revenant and The Age of Innocence, this book proposes a fresh approach to reading film in the context of emerging existential presence and the ethical imperative.