Abstract

Our impressions of this lifeworld are contingent upon our ability to see (in every conflicting meaning of the word). This paper reviews a body of scholars who often share disparate, "incompatible" ontological commitments in effort to examine how their ordering of concepts may reveal a deeper fluidity and permeability between all states of inquiry, creation and investigation into Being and Time. It begins with perspective, examining our subjective presence in the context of the camera apparatus and considers how the mirroring of mechanical instrumentation, namely the rotary shutter and optics of the camera has limited the true function of the cinema to a narrow, representational form. It considers the spiritual implications of the apparatus, exploring, regardless of what is filmed, what the method of inscription from still photos into motion means in regards to consciousness. The paper then investigates what the role of abstraction is in the context of a spiritually minded camera apparatus and attempts to reconcile Deluzian and phenomenological perspectives about film consciousness. All of this is, after all, is in the conceptual support of the four channel video installation Phase Space. The paper does not seek to, or claim to apply readymade philosophical concepts to cinema, rather it explicitly attempts to examine and discuss cinema on its own virtues and investigate how it can express itself as an experimental form of philosophy.

Notes

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Thesis Completion

2012

Semester

Spring

Advisor

Harris, Christopher

Degree

Bachelor of Fine Arts (B.F.A.)

College

College of Arts and Humanities

Degree Program

Film

Subjects

Arts and Humanities -- Dissertations, Academic;Dissertations, Academic -- Arts and Humanities

Format

PDF

Identifier

CFH0004219

Language

English

Access Status

Open Access

Length of Campus-only Access

None

Document Type

Honors in the Major Thesis

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