Metaphysics and the Moving Image

"Paradise Exposed"
A metaphysics of film for a post-metaphysical age
A metaphysics of film for a post-metaphysical ageStages a dialogue between film and philosophy on the question of metaphysicsTheorizes the workings of a metaphysical film style" and analyses its varied characteristics through close readings of filmsSituates the moving image in the context of the visual arts (i.e., photography and painting) as part of the history of aesthetic disclosureSpeculates on the value of a return of metaphysics for a post-metaphysical ageMetaphysics and the Moving Image is an investigation into the medium of film's inheritance of metaphysics Western philosophy's oldest and most ambitious form of 'truth-seeking.' Why does the moving image of film take up this ancient quest at the very moment when philosophy sought to abandon it once and for all? As the long age of metaphysics comes to a close with the Nietzschean 'death of God' and its crisis of nihilism, the emergence of film at the dawn of a new century brings forth a new absolute value, both life-affirming and more-than-human: 'the world in its own image.' Film radically transforms the metaphysical paradigm from rational speculation through concepts to mechanical revelation through images and sounds the 'dream machine' at the heart of the medium's capacity to enlighten and enthrall.In this book, Trevor Mowchun discusses film theorists and philosophers such as Martin Heidegger, Stanley Cavell, Robert Bresson, and Heinrich von Kleist, in relation to films which possess a 'metaphysical film style,' including The Thin Red Line and The Turin Horse. Painting and photography are also considered a precursor to the moving image, but it's a specifically cinematic metaphysics which promises to lead us out of the traps of abstraction and alienation inadvertently set by old metaphysics. Mowchun demonstrates that in a post-metaphysical world, questions about being, value, truth, life and death return with renewed force, finding concrete yet open-ended responses in cinema."

Pages: 272

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