Contents

pp v-vi

List of Figures

pp vii-viii

Acknowledgements

pp ix-x

Notes on Contributors

pp xi-xiv

Introduction: Toward a Critical Phenomenology of “Film Work”

pp 1-24

Part 1: Temporality

pp 25-26

1 - The Psychology and Phenomenology of Play in Céline Sciamma’s

pp 27-40

2 - Phenomenology in the Kitchen: Feeling Time Like a Feminist

pp 41-60

3 - For a Critical Phenomenology of Montage: John Akomfrah’s Vertigo Sea—with Maurice Merleau-Ponty and Karen Barad

pp 61-77

4 - The Khôra-Screen: Responsibility as a Precarious Intimacy in Agnès Varda’s One Sings, the Other Doesn’t

pp 78-100

Part 2: Embodiment

pp 101-102

5 - Human as Cosmos in Bill Viola’s Five Angels for the Millennium: The Scattered Body of Scalar Configurations

pp 103-121

6 - The Posthumous Phenomenology of the Star Biopic: Kristen Stewart as Jean Seberg in Seberg

pp 122-140

7 - The Assassination of Marilyn Monroe by the Coward Andrew Dominik: An Existentialist Phenomenology of Cinematic Imagination

pp 141-166

8 - Eco Soma Methods and Disability Film Dance: Moving, Stumbling, Sliding

pp 167-184

9 - Echoing Images: Dark Reverberation and the Bachelardian Imagination of Folk Horror in Alex Garland’s Men

pp 185-202

Part 3: Transformation

pp 203-204

10 - “A braid of partial syntheses”: Husserl’s Redetermination and the Visual Excess of the (K)not

pp 205-225

11 - New Phenomenological Approaches to Affect, Mood, and Atmospheres

pp 226-245

12 - Swimming in Moonlight: On Viewing Black Masculinity Differently with bell hooks

pp 246-270

13 - AI Phenomenology: Breath, Machine Learning, and Husserl, Polanyi, and Grosz’s Relational Kinesthesia

pp 271-286

Index

pp 287-297