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Author:   Halbe Hessel Kuipers (University of Amsterdam, the Netherlands)
Publisher:   Bloomsbury Publishing Plc
Imprint:   Bloomsbury Academic
Dimensions:   Width: 14.40cm , Height: 2.20cm , Length: 21.80cm
Weight:   0.500kg
ISBN:  

9798216373094

Pages:   288
Publication Date:   28 May 2026
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Manufactured on demand  
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Table of Contents

Preface: Cinema Today Introduction: Moving Images Beyond Part I: ON PERCEPTS 1. What is a Perspective? In Castaing-Taylor and Paravel’s Leviathan 2. The Nature of the Image in the Cantrills’ The Room of Chromatic Mystery Part II: ON AFFECTS 3. Movement, Affect, and Perspective in Yasujiro Ozu’s Cinema 4. The Image of Nature in de Putter’s It’s Been a Lovely Day Part III: ON IMAGINATIONS 5. Our Perspective, or What is Haunting? In the Work of Renzo Martens 6. The Spirit of the Gaze in the Work of Apichatpong Weerasethakul 7. The Cosmopraxis of Imagination in Alexander, van Brummelen & de Haan’s Stones Have Laws 8. If an Image is a Cosmos, Is the Camera then a Cosmic-eye? A Dialogue with Sebastian Wiedemann Notes Bibliography Index

Reviews

How does the cinema world? This question haunts Kuipers’ A Cinematic Mode of Existence. What techniques of existence are generated here, at the interstices where the images catches perspectives in the making? And how do these perspectives, emergent forces of life-living, push up against the urgency of a more-than human angling, a life lived artfully in difference without separability? * Erin Manning, Professor, Concordia University, Canada * A Cinematic Mode of Existence performs an ""ontological turn"" – or more precisely, an ontogenetic turn. The question is how the cinematic image is engendered and what it, in turn, engenders. The answers are to be found in movement and perspective. Movement in the world, not in the interiority of a subject; a perspective of the world, not a point of view on it. Weaving expertly between detailed analyses of films and conceptually innovative philosophical analysis, Kuipers produces a theory of the image invoking an ""extra-modern"" cosmology. The book challenges film studies to open itself to fundamentally new understandings of what cinema can do. * Brian Massumi, Professor (retired), University of Montreal, Canada *

How does the cinema world? This question haunts Kuipers’ A Cinematic Mode of Existence. What techniques of existence are generated here, at the interstices where the images catches perspectives in the making? And how do these perspectives, emergent forces of life-living, push up against the urgency of a more-than human angling, a life lived artfully in difference without separability? * Erin Manning, Professor, Concordia University, Canada *

Author Information

Halbe Hessel Kuipers is Lecturer in Film Studies at the University of Amsterdam, the Netherlands.

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