In Comedy Incarnate, Noël Carroll surveys the features of Buster Keaton’s specific visible sort, to bare the precise event of observing Keaton’s motion pictures.
- Bold and provocative thesis written by way of considered one of America’s ideal movie theorists
- Takes a distinct examine the philosophies in the back of Keaton’s style
- Weighs visible parts over narrative shape within the research of the Keaton’s work
- Provides a clean vantage element for research of movie and comedy itself
Read or Download Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping PDF
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Additional info for Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping
Notes 1 2 three four five 6 7 eight nine i needed to sign this connection through entitling this article Embodied brain: comedian Intelligence and urban Operations in Buster Keaton’s the final. however the writer hated that name. It has consistently struck me as immensely ordinary that Althusserian-Lacanians disparage phenomenology as rooted within the paintings of Merleau-Ponty – given his emphasis at the physique – as an easy case of Idealism. The emphasis at the visible this is no longer meant theoretically to privilege the visible as a few kind of cinematic essence over the aural. really it basically recognizes that the final is a silent ﬁlm. Susan Sontag, opposed to Interpretation (New York: Dell, 1966), p. 14. as well as autonomous studying in phenomenology as a graduate ﬁlm pupil, I had additionally had numerous undergraduate tutorials in phenomenology with David Michael Levin at Hofstra collage. A stellar instance of this kind of research are available in Annette Michelson’s article “Toward Snow,” Artforum ( June 1971), during which Michelson explores the capability dating among forward-moving zoom photographs, at the one hand, and temporal anticipation verging on narrative at the different. See the advent to my examining the relocating picture (Cambridge: Cambridge college Press, 1998). after all, it might be a mistake to imagine that this reﬂexive obstacle with the stipulations of inventive event – undertaken within the spirit of phenomenology – was once constrained to avant-garde ﬁlm. It used to be in facts around the arts, together with minimalist portray and sculpture (for instance, within the paintings of Robert Morris) and in theater – such a lot particularly within the experiments of Richard Foreman, whose scenography itself as a tool for directing viewers awareness was once usually what his performs have been approximately. although i believe that it truly is precise that the impression of phenomenology used to be maximum at the research of Structural (or, as I like to name it, minimalist) ﬁlm, it was once Introduction 10 eleven 12 thirteen 14 15 sixteen 17 18 19 20 15 additionally proper to the dialogue of alternative developments in American avant-garde ﬁlm. for instance, i feel that the research of Stan Brakhage’s undertaking – understood as an try to recognize a few form of primitive, preperspectival, visible event – beneﬁted from the precedent of Merleau-Ponty’s earlier characterization of Cézanne as a painter bent upon convalescing primordial conception. for instance, see Maurice Merleau-Ponty, “Cézanne’s Doubt,” The Merleau-Ponty Aesthetics Reader: Philosophy and portray, tr. and ed. Michael Smith (Evanston, IL: Northwestern collage Press, 1993), pp. 59–75. Annette Michelson, “Bodies in area: movie as Carnal Knowledge,” in Artforum, Feb. 1969, pp. 54–63. Hubert Dreyfus calls this “embodied coping,” a superb word that i've got tailored for the subtitle of this e-book. See: Hubert Dreyfus, “Overcoming the parable of the psychological: How Philosophers Can Proﬁt from the Phenomenology of daily services” in court cases and Addresses of the yankee Philosophical organization, 79(2) (Nov. 2005), pp.