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Notes
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.
KendallWalton, “Transparent Pictures: On the Nature of Photographic Realism”.Critical Inquiry 11 (1984), 246–273.
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).
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.
JohnLocke,An Essay Concerning Human Understanding: Selected Essays, ed. I.C.Tipton (Oxford: Oxford University Press, 1977).
Husserl,, Section 111.
“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.
Willard,. On Intentionality see p. 80, note 43.
Husserl,, Section 111, p. 262.
Ibid.
Walton, “Transparent Pictures,” op.cit., p. 252.
Ibid., p. 261.
KendallWalton, “Looking Again Through Photographs: A Response to Edwin Martin”,Critical Inquiry 12 (1986), 805.
Andrew, op.cit., pp. 48–49.
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).
Roy WoodSellars, “Sensations as Guides to Perception”,Mind 68 (1959), 2–15.
Willard,. On Intentionality, see pp. 97–99.
Willard,. On Intentionality, see p. 80, note 43.
Walton, “Looking Again Through Photographs”, op.cit., p. 801.
EdmundHusserl,Logical Investigations, transl. J.N. Findlay (NY: Humanities Press, 1970), p. 701.
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.
NoelBurch,To the Distant Observer: Form and Meaning in the Japanese Cinema (Berkeley: University of California Press, 1979).
, p. 19.
, p. 298.
, p. 299.
, p. 299.
, p. 299.
, p. 301.
, p. 318.
, p. 321.
, p. 143.
, pp. 154–187.
, pp. 123–140.
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.
On facture, see Michael Renov, “Re-thinking the Documentary: Towards a Taxonomy of Mediation,”Wide Angle 8 (# 3–4), 75.
See J.Dudley Andrew,Concepts in Film Theory (Oxford: Oxford University Press, 1984), Chatper 5, especially pp. 91ff., and Chapter 8, especially pp. 134ff.
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Casebier, A. Transcendence, transparency, and transaction: Husserl's middle road to cinematic representation. Husserl Stud 5, 127–141 (1988). https://doi.org/10.1007/BF00579107
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DOI: https://doi.org/10.1007/BF00579107