2020-01Thematic Section
The Role of Phantasy in Relation to the Socially Innovative Potential of Filmic Experience

Abstract:

The aim of my essay is to distinguish the aspects of the filmic experience that are decisive in relation to the film’s capability to sensitize the viewer to social issues in Williams’s sociology of culture. In order to do that, I will take into consideration Williams’s understanding of film as a particular medium that is connected with the general dramatic tradition and is able to realize a total expression of the structure of feeling rooted in every aspect of community life. On the basis of Williams’s understanding of film, I will analyze the film’s potential for social innovation from the standpoint of the viewing subject. In the later part of my essay, I will argue that the filmic experience’s capability to promote phantasies is a decisive element in relation to the expressive power of the film. I will analyze the role of phantasy in relation to the socially innovative potential of film in the accounts of the filmic experience provided both by Williams and by other authors that follow in Williams’s footstep by conceiving the filmic flow as a gaze located outside the viewer. Finally, I will draw my conclusions concerning the elements of the filmic experience that are decisive in relation to the film’s potential for social innovation.

Keywords:

Raymond Williams, film, structure of feeling, total performance, flow, fourth look, phantasy

How to cite:

Giorgi, Federico. “The Role of Phantasy in Relation to the Socially Innovative Potential of Filmic Experience.” Eidos. A Journal for Philosophy of Culture 4, no. 1 (2020): 57-69. https://doi.org/10.14394/eidos.jpc.2020.0006.

Author:

Federico Giorgi
Department of Philosophy, University of Namur
rue de Bruxelles 61, B-5000 Namur, Belgium
https://orcid.org/0000-0002-7154-2013
federicogiorgi1987@gmail.com

References:

Barjavel, René. Le Cinéma total: Essai sur les forms futures du cinéma. Paris: Éditions Danoël, 1944.

Benjamin, Walter. “The Work of Art in the Age of Its Technological Reproducibility.” In Selected Writings, edited by Eiland Howard Jennings Michael, 101-140. Cambridge, MA and London: The Belknap Press, 2002.

Best, Beverly. “Raymond Williams and the Structure of Feeling of Reality TV.” International Journal of Humanities and Social Science 2, no. 7 (2012): 192-201.

Deleuze, Gilles. L’image-mouvement: Cinéma 1, Paris: Éditions de Minuit, 1983.

Deleuze, Gilles. L’image-temps: cinéma 2, Paris: Éditions de Minuit, 1985.

Dix, Hywel. After Raymond Williams: Cultural Materialism and the Break-up of Britain. Cardiff: University of Wales Press, 2013. Kindle.

Frezza, Gino. “Cinema e Società. Nodi Ancora Irrisolti.” Mediascapes Journal 4, (2015): 1-9.

Frezza, Gino, and Giovanni Fiorentino. “Immagini: Film, Fumetti, Fiction, Fotografia, Pubblicità.” In I Grandi Temi del Secolo. Edited by Alberto Abruzzese and Luca Massidda, 477-493. Torino: UTET, 2014.

Kracauer, Siegfried. Theory of Film: The Redemption of Physical Reality. Oxford University Press, New York 1960.

Lacan, Jacques, The Seminar of Jacques Lacan: The Four Fundamental Concepts of Psychoanalysis, Book XI. Edited by Jacques-Alain Miller. Translated by Alan Sheridan. New York: Norton & Company, 1981.

Lang, Fritz, dir. Metropolis. 1927; Germany; Ermitage Cinema, 2011. DVD.

Lukács, György. “Die Gegenwartsbedeutung des Kritischen Realismus.” in Werke: Vol. 4, Problemes des Realismus I: Essays über Realismus, 457-603. Berlin: Luchterhand, 1971.

Lukács, György. The Sociology of Modern Drama. Translated by Lee Baxandall. Oshkosh: Green Mountains Editions, 1965. https://doi.org/10.2307/1125039.

Morin, Edgar. The Cinema, or the Imaginary Man. Minneapolis: University of Minnesota Press, 2005.

Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Screen 16, no. 3 (1975): 6-18. https://doi.org/10.1093/screen/16.3.6.

McLuhan, Marshall. Understanding Media: The Extensions of Man. New York: Signet Books, 1964.

Simmel, Georg. “The Metropolis and Mental Life.” In The Sociology of Georg Simmel, edited by Kurt Wolff, 409-424. Glenco: The Free Press, 1950.

Stern, Lesley. “The Body as Evidence.” Screen 23, no. 5 (1982): 38-62. https://doi.org/10.1093/screen/23.5.38.

Sternberg, Josef von. Dishonored. 1931; United States; Universal Studios, 2012. DVD.

Sternberg, Josef von. Morocco. 1930; United States; Universal Pictures, 2013. DVD.

Weine, Robert. The Cabinet of Dr. Caligari. 1920; Germany; Kino Classics, 2014. Blu-ray.

Williams, Raymond. “Cinema and Socialism.” In Politics of Modernism. Edited by Tony Pinkney, 107-118. London: Verso, 1989.

Williams, Raymond. Drama from Ibsen to Eliot. New York: Oxford University Press, 1953.

Williams, Raymond. Drama in Performance. C.A. London: Watts & Co., 1968.

Williams, Raymond. Drama from Ibsen to Brecht. New York: Oxford University Press, 1969.

Williams, Raymond. “Film and the Dramatic Tradition.” In Preface to Film, edited by Raymond Williams and Michael Orrom, 1-55. London: Film drama, 1954.

Williams, Raymond. The Long Revolution. London: Chatto & Windus, 1961.

Williams, Raymond. Marxism and Literature. Oxford: Oxford University Press, 1977.

Williams, Raymond. The Sociology of Culture. Chicago: University of Chicago Press, 1981.

Williams, Raymond. Television: Technology and Cultural Form. London & New York: Routledge, 2003. https://doi.org/10.4324/9780203450277.

Williams, Raymond. Il Dottor Caligari a Cambridge. Edited by Frezza Gino and Denunzio Fabrizio. Verona: Ombre corte, 2015.

Open Access Statement:

This is an open access journal which means that all content is freely available without charge to the user or his/her institution. Users are allowed to read, download, copy, distribute, print, search, or link to the full texts of the articles, or use them for any other lawful purpose, without asking prior permission from the publisher or the author, as long as the author and original source are properly cited. This is in accordance with the BOAI definition of open access.

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. Submitting a text to Eidos. A Journal for Philosophy of Culture means that the author agrees with the general conditions of this license. The author does and will maintain copyrights and publishing rights for his/her article without any restrictions.