By Cleo Hanaway-Oakley
with exhibiting, instead of explaining, the 'inherence of the self within the world'. rather than portraying an aim, impartial international, bereft of human enter, Joyce, the film-makers, and the phenomenologists current embodied, wide awake engagement with the surroundings and others: they're drawn to the
world-as-it-is-lived and go beyond the seemingly-rigid binaries of seer/seen, subject/object, absorptive/theatrical, and personal/impersonal. This e-book re-evaluates the heritage of physique- and spectator-focused movie theories, putting Merleau-Ponty on the centre of the dialogue, and considers the ways that Joyce can have encountered such theories. In a wealth of shut analyses, Joyce's fiction is learn along the paintings of early film-makers corresponding to Charlie Chaplin, Georges Méliès,
and Mitchell and Kenyon, and on the subject of the philosophical dimensions of early-cinematic units similar to the Mutoscope, the stereoscope, and the landscape. by means of placing Joyce's literary work—Ulysses above all—into discussion with either early cinema and phenomenology, this booklet elucidates and enlivens
literature, movie, and philosophy.
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