Overview

With an interdisciplinary agenda, Film Phenomenologies investigates the emerging field of film phenomenology, linking the fundamental significance of early thinkers and related methods of phenomenological investigation to newer emphases and diverse voices, such as Gaston Bachelard, Karen Barad, Simone de Beauvoir, bell hooks, Iris Murdoch and Hermann Schmitz. Established scholars consider various themes, including colonial duration and the politics of refusal, feeling feminist time, the exchange of play, scalar theory and scattered bodies, spectatorship and the entanglement of montage, disability, dance and speculative embodiment, AI phenomenology and breath gestures, cinematic atmospheres, the precarious intimacy of the film screen, stardom and biopics, and Black lived experience. Divided into three parts, Film Phenomenologies offers a collective combination of phenomenological approaches, braiding classic and critical methods to explore aesthetic, embodied, ethical, and political perspectives. It is the first collection to provide a substantial engagement with diverse and inclusive directions in the field of film and media studies.

Full Product Details

Author:   Kelli Fuery (Professor of Creative and Cultural Industries, Chapman University)
Publisher:   Edinburgh University Press
Imprint:   Edinburgh University Press
ISBN:  

9781399528139

ISBN 10:   1399528130
Pages:   312
Publication Date:   31 March 2026
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   Not yet available, will be POD  
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Table of Contents

Introduction: Toward A Critical Phenomenology of ""Film Work"" - Kelli Fuery Part 1: Temporality The Psychology and Phenomenology of Play in Céline Sciamma’s Petite Maman - Kate Ince Phenomenology in the Kitchen: Feeling Time Like a Feminist - Lori Marso For a Critical Phenomenology of Montage: John Akomfrah’s Vertigo Sea—With Maurice Merleau-Ponty and Karen Barad - Domietta Torlasco The khôra-screen: Responsibility as a Precarious Intimacy in Agnès Varda’s One Sings, The Other Doesn’t - Kelli Fuery Part 2: Embodiment Human as Cosmos in Bill Viola’s Five Angels for the Millennium: The Scattered Body of Scalar Configurations - Elena del Río The Posthumous Phenomenology of the Star Biopic: Kristen Stewart as Jean Seberg in Seberg - Lucy Bolton The Assassination of Marilyn Monroe by the Coward Andrew Dominik: An Existentialist Phenomenology of Cinematic Imagination - David Sorfa Eco Soma Methods and Disability Film Dance: Moving, Stumbling, Sliding - Petra Kuppers Echoing Images: Dark Reverberation and the Bachelardian Imagination of Folk Horror in Alex Garland’s Men - Saige Walton Part 3: Transformation ‘A Braid of Partial Syntheses’: Husserl’s Redetermination and the Visual Excess of the (K)not - Patrick Fuery New Phenomenological Approaches to Affect, Mood, and Atmospheres - Robert Sinnerbrink Swimming in Moonlight: On Viewing Black Masculinity Differently with bell hooks - Qrescent Mali Mason AI Phenomenology: Breath, Machine Learning, and Husserl, Polanyi, and Grosz’s Relational Kinaesthesia - Lisa Müller-Trede

Reviews

'This is a gorgeous, exploratory book envisaging diverse and plural film phenomenologies. Beautifully curated by Kelli Fuery, it responds to situated experiences, expressing commitment to the ethical and activist potential of film experience. Encompassing studies of John Akomfrah, of Agnès Varda, of play in Céline Sciamma, swimming in Moonlight, amongst many other subjects, the excellent essays here represent some of the finest writing currently in this field.' -- Emma Wilson, Professor of French Literature and the Visual Arts, University of Cambridge 'Kelli Fuery’s collection Film Phenomenologies widens the scope of phenomenological inquiry into cinema. It shows how this phenomenology doesn’t remain constrained in its theoretical origins to shed light on the most pressing political and cultural issues of our time. At the same time, it provides crucial insight into how the mainsprings of phenomenology as worked out by Husserl, Merleau-Ponty, and Beauvoir remain relevant today for thinking about filmic experience. Every essay offers new revelations.' -- Professor Todd McGowan, The University of Vermont

Author Information

Kelli Fuery is Professor of Creative and Cultural Industries in Wilkinson College of Arts, Humanities and Social Sciences at Chapman University, California. She is the author of five books, including Ambiguous Cinema: From Simone de Beauvoir to Feminist Film-Phenomenology and Wilfred Bion, Thinking and Emotional Experience with Moving Images. Her next project examines Bion's notion of the bizarre object and interconnected themes of hallucination, phenomenology and virtuality.

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