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This book identifies a new methodological strategy for the interpretation of film philosophizing. Many recent works in film philosophy, adopting the approach identified with the term film as philosophy, have considered film as capable of doing philosophy.  Focused on the basic relationship between film and filmgoer, the proposed method is founded on the concept of the film world. Combining Merleau-Ponty’s and Ricœur’s philosophies, and reconsidering Goodman’s theory of worldmaking, the film world becomes the hermeneutic horizon from which film philosophical thought can emerge. The book shows how Ricœurian methodology has the potential to provide a valuable resource for film studies by inviting scholars to consider film interpretation in terms of film world hermeneutics. .

Film criticism. --- Film criticism --- Philosophy. --- Motion picture criticism --- Motion pictures --- Moving-picture criticism --- Criticism --- Evaluation --- Phenomenology . --- Motion pictures. --- Critical theory. --- Phenomenology. --- Film Theory. --- Critical Theory. --- Critical social theory --- Critical theory (Philosophy) --- Critical theory (Sociology) --- Negative philosophy --- Criticism (Philosophy) --- Philosophy, Modern --- Rationalism --- Sociology --- Frankfurt school of sociology --- Socialism --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism

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This book shows how a masterpiece of experimental cinema can be interpreted through hermeneutics of the film world. As an application of Ricœurian methodology to a non-narrative film, the book calls into question the fundamental concept of the film world. Firmly rooted within the context of experimental cinema, Stan Brakhage’s Dog Star Man was not created on the basis of a narrative structure and representation of characters, places and events, but on very different presuppositions. The techniques with which Brakhage worked on celluloid and used frames as canvases, as well as his choice to make the film without dialogue and sound, exhort the interpreter to directly question the philosophical language of moving images.

Philosophy --- Theory of knowledge --- Film --- film --- filosofie --- kennisleer --- existentialisme

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Philosophy --- Theory of knowledge --- Film --- film --- filosofie --- kennisleer --- existentialisme