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A Cinema of Boredom: Heidegger, Cinematic Time and Spectatorship
Film-Philosophy 24 (1):1-21 (2020)
Abstract
Boredom, in cinema as well as in our everyday experience, is usually associated with a generalised loss of meaning or interest. Accordingly, boredom is often perceived as that which ought to be avo...Links
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Citations of this work
Introduction: Heidegger and the Phenomenology of Film.Robert Sinnerbrink - 2024 - Film-Philosophy 28 (1):1-10.
An Ambiguous World of Film: Cinematic Immersion beyond Early Heidegger.Ludo de Roo - 2024 - Film-Philosophy 28 (1):11-30.
The Monstrous Mark of Cinema: Mulholland Drive, Spherology, and the “Virtual Space” of Filmic Fiction.James Dutton - 2023 - Film-Philosophy 27 (3):553-578.
In the Mood for Heideggerian Boredom? Film Viewership as Being-in-the-World.Chiara Quaranta - 2024 - Film-Philosophy 28 (1):31-46.
Dasein and the Question of the Heterogenous Film Viewer: A Commentary on Loht’s Heideggerian Phenomenology of Film.Annie Sandrussi - 2024 - Film-Philosophy 28 (1):62-78.
References found in this work
Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought.Martin Jay - 1993 - University of California Press.
Visual pleasure and narrative cinema.Laura Mulvey - 2010 - In Marc Furstenau (ed.), The film theory reader: debates and arguments. New York: Routledge.
Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought.Martin Jay - 1995 - Science and Society 59 (1):95-97.
Picture Theory: Essays on Verbal and Visual Representation.W. J. T. Mitchell - 1995 - University of Chicago Press.
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