Husserl Studies

, Volume 5, Issue 2, pp 127–141 | Cite as

Transcendence, transparency, and transaction: Husserl's middle road to cinematic representation

  • Allan Casebier


Middle Road Cinematic Representation 
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  1. 1.
    In RolandBarthes, seeCritique et Vérité (Paris: éditions du Seuil, 1966). On post-structuralism, see J. Dudley Andrew,Concepts in Film Theory (NY: Oxford University Press, 1984), pp. 48–49.Google Scholar
  2. 2.
    KendallWalton, “Transparent Pictures: On the Nature of Photographic Realism”.Critical Inquiry 11 (1984), 246–273.Google Scholar
  3. 3.
    EdmundHusserl,Ideas Pertaining to a Pure Phenomenology and to a Phenomenological Philosophy, transl. F. Kersten (The Hague: Nijhoff, 1982) Section 111. Consult also the translation by W.R. Boyce Gibson (London: George Allen and Unwin, 1931).Google Scholar
  4. 4.
    For an understanding of intentionality and other terms in the Husserlian see DallasWillard,Logic and the Objectivity of Knowledge: A Study in Husserl's Early Philosophy (Athens: Ohio University Press, 1984). On Intentionality, see p. 35.Google Scholar
  5. 5.
    JohnLocke,An Essay Concerning Human Understanding: Selected Essays, ed. I.C.Tipton (Oxford: Oxford University Press, 1977).Google Scholar
  6. 6.
    Husserl,, Section 111.Google Scholar
  7. 7.
    “Founded noesis” refers to the mental process arising from correlative acts e.g., perception arising from apperception. As Kersten explains noesis's meaning, “noesis” refers to the mental process involved in perception, while “noema” refers to the intended to as such. See F.Kersten and R.Zaner,Phenomenology: Continuation and Criticism (The Hague: Nijhoff, 1973), p. 115ff.Google Scholar
  8. 8.
    Willard,. On Intentionality see p. 80, note 43.Google Scholar
  9. 9.
    Husserl,, Section 111, p. 262.Google Scholar
  10. 10.
  11. 11.
    Walton, “Transparent Pictures,” op.cit., p. 252.Google Scholar
  12. 12.
    Ibid., p. 261.Google Scholar
  13. 13.
    KendallWalton, “Looking Again Through Photographs: A Response to Edwin Martin”,Critical Inquiry 12 (1986), 805.Google Scholar
  14. 14.
    Andrew, op.cit., pp. 48–49.Google Scholar
  15. 15.
    A founded act is an act which essentially involves consciousness of another act. See Edmund Husserl,Philosophie der Arithmetik, 2nd edition, ed. Lothar Eley inHusserliana XII (1970).Google Scholar
  16. 16.
    Roy WoodSellars, “Sensations as Guides to Perception”,Mind 68 (1959), 2–15.Google Scholar
  17. 17.
    Willard,. On Intentionality, see pp. 97–99.Google Scholar
  18. 18.
    Willard,. On Intentionality, see p. 80, note 43.Google Scholar
  19. 19.
    Walton, “Looking Again Through Photographs”, op.cit., p. 801.Google Scholar
  20. 20.
    EdmundHusserl,Logical Investigations, transl. J.N. Findlay (NY: Humanities Press, 1970), p. 701.Google Scholar
  21. 21.
    See StanleyCavell,A World Viewed: Reflections on the Ontology of Film, Enlarged Edition (Cambridge: Harvard University Press, 1979), section entitled “More of the World Viewed,” pp. 162–230.Google Scholar
  22. 22.
    NoelBurch,To the Distant Observer: Form and Meaning in the Japanese Cinema (Berkeley: University of California Press, 1979).Google Scholar
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  32. 32.
    , pp. 154–187.Google Scholar
  33. 33.
    , pp. 123–140.Google Scholar
  34. 34.
    Elsewhere, I have discussed this ungrounded “Nominalist” assumption, see “Representation of Reality and Reality of Representation,”Persistence of Vision, special issue on Philosophy and Film, ed. Noel Carroll, forthcoming 1987.Google Scholar
  35. 35.
    On facture, see Michael Renov, “Re-thinking the Documentary: Towards a Taxonomy of Mediation,”Wide Angle 8 (# 3–4), 75.Google Scholar
  36. 37.
    See J.Dudley Andrew,Concepts in Film Theory (Oxford: Oxford University Press, 1984), Chatper 5, especially pp. 91ff., and Chapter 8, especially pp. 134ff.Google Scholar

Copyright information

© Kluwer Academic Publishers 1988

Authors and Affiliations

  • Allan Casebier
    • 1
  1. 1.University of Southern CaliforniaLos Angeles

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