title: ROMAN INGARDEN’S CONCEPT OF THE FILMIC WORK OF ART: STRATA, SOUND, SPECTACLE
metadata.name: dc.contributor.author
metadata.value: LUZECKY, ROBERT
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2020-12-09T18:19:36Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2020-12-09T18:19:36Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2020-06
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: LUZECKY R. ROMAN INGARDEN’S CONCEPT OF THE FILMIC WORK OF ART: STRATA, SOUND, SPECTACLE. Horizon. Studies in Phenomenology, 2020, vol. 9, issue 2, pp. 683–702.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/2226-5260-2020-9-2-683-702
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/21409
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: In the present paper, I suggest a modification to some aspects of Ingarden’s analyses of the sound-synchronized filmic work of art. The argument progresses through two stages: (1)  I clarify Ingarden’s
  claim that the work of art is a stratified formation in which the various aspects present objectivities;
  (2)  I elucidate and critically assess Ingarden’s suggestion that the filmic work of art is a borderline
  case in respect to other types of works of art—paintings and literary works. Here, I identify a problem
  with Ingarden’s claims about the function of sound in the concretized filmic work’s presentation of its
  fictive world. Ingarden identifies the presented universe of the filmic work of art as a habitus of reality, but Ingarden seems oddly conflicted with respect to his notion of habitus. I argue that this stems
  from Ingarden’s conceptualization of the filmic work of art as primarily composed of the stratum of
  represented “visible aspects” in both the cases of the silent film and the sound-synchronized film, and
  his restriction of the role of phonetic content in the latter. I suggest that were we to reconceptualise the
  role of aurally presented phonetic content in the concretized sound-synchronized film, we could better
  understand how film has the seeming magical capacity to transfix us.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: en
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Horizon. Studies in Phenomenology;Volume 9; Issue 2
metadata.lang: -
metadata.name: dc.subject
metadata.value: Ingarden
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: film
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: sound
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: ontology
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: silent film
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: aesthetics
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: ROMAN INGARDEN’S CONCEPT OF THE FILMIC WORK OF ART: STRATA, SOUND, SPECTACLE
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 683-702.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/21409/1/683-702.pdf
resources.format: Adobe PDF
resources.size: 641,44 kB