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9780190949716

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Reviews

In this exciting and essential new book, Sheehan presents a completely new reconsideration, both historical and philosophical, of North American experimental film. Sheehan's book is also an important intervention in current debates about 'film philosophy,' as she draws out with precision and depth the philosophical interest of filmmakers such as Maya Deren, Michael Snow, Stan Brakhage, Jonas Mekas, Phil Solomon, James Benning, Sharon Lockhart, David Gatten, Marie Menken, Pat O'Neill, Ray and Charles Eames, Ernie Gehr, Ken Jacobs, and Hollis Frampton. This book will appeal to scholars of experimental cinema, to that growing audience working at the intersection of philosophy and cinema, and perhaps more broadly to researchers in the philosophy of art, Continental philosophy, and art criticism. -- D. N. Rodowick, University of Chicago American Avant-Garde Cinema's Philosophy of the In-Between is a stunning achievement, a true gift for those of us who value-and for those who need to learn to better appreciate-the aesthetic dimension of ethical experience. Sheehan's pragmatic account of American avant-garde filmmaking so beautifully situates the work in relation to the complexity of ordinary experience, where others have been content to lift the films from the lives and worlds that brought them into existence in the first place. In showing us what pragmatists and ordinary language philosophers share with the cinematic avant-garde-namely, a concern with contingent and pluralistic conceptions of self and world, none of which can be separated from the challenges of aesthetic experience-Sheehan has opened a whole new world for film philosophy. -- Brian Price, University of Toronto

Author Information

Rebecca A. Sheehan is Associate Professor of Cinema and Television Arts at California State University, Fullerton. She received her Ph.D. in Comparative Literature from University of Pennsylvania and has been a Visiting Assistant Professor of English at Haverford College, and a Visiting Associate Professor of Visual and Environmental Studies at Harvard University. She is the co-editor of Border Cinema: Reimagining Identity Through Aesthetics (2019). Her work on topics ranging from experimental cinema, sculpture and cinema, epistolary cinema, the biopic and border cinema has appeared in edited book collections and various journals including Discourse, Screen, and Screening the Past.

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