Abstract
Ricœurian film hermeneutics offers no conclusive interpretation of the film. If the Ricœurian hermeneutic perspective appears to be promising because, by reflecting on the film world and its philosophy, it maintains the possibility of a broad horizon of sense and plurality of meanings, on the other hand, it also involves a continuous questioning of interpretation, with the double risk of making interpretative work appear to be a futile effort, and basically equating all interpretations, debasing each one’s specific value. Following the long path traced by Ricœur, film hermeneutics therefore poses the essential, ineludible problem of keeping alive and vital the dialogue between the different perspectives on the film world.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
References
Anticipation of the Night. 1958. Directed by Stan Brakhage. Film.
Bolle, Kees W., Richard G.A. Buxton, and Jonathan Z. Smith. 1993. The New Encyclopaedia Britannica, Vol. 24, s.v. “Myth and Mythology,” 715–732. Chicago: Encyclopaedia Britannica.
Brakhage, Stan. 1963. Metaphors on Vision, ed. Adams Sitney. New York: Film Culture.
Breton, André. 1969. Manifestoes of Surrealism, trans. Richard Seaver and Helen R. Lane. Ann Arbor: University of Michigan Press.
Camper, Fred. 1967. The Art of Vision. A Film by Stan Brakhage. Film Culture 46 (Autumn): 40–44.
Deren, Maya, Arthur Miller, Dylan Thomas, Parker Tyler, and Willard Maas. 1963. Poetry and the Film: A Symposium. Film Culture 29 (Summer): 55–63.
Dog Star Man. 1964. Directed by Stan Brakhage. Film.
Dulac, Germaine. 1987. The Avant-Garde Cinema. In The Avant-Garde Film: A Reader of Theory and Criticism, ed. Adams P. Sitney, 43–48. New York: Anthology Film Archives.
Jakobson, Roman. 1981. What Is Poetry? In Selected Writings, Vol. 3: Poetry of Grammar and Grammar of Poetry, ed. Stephen Rudy, 740–750. The Hague: Mouton.
Kael, Pauline. 1964 (?). Pauline Kael and Stan Brakhage. Ubuweb: Sound. Rare Audio from Anthology Film Archives (audio interview, 20 mins.). http://ubu.com/sound/afa.html. Accessed 17 July 2018.
Knight, Arthur. 1963. New American Cinema? Saturday Review 2 (November): 41.
La Roue. 1923. Directed by Abel Gance. Film.
McClure, Michael. 1963a. Dog Star Man: The First 16mm Epic. Film Culture (New York) 29 (Summer): 12–13.
Peterson, James. 1996. Is a Cognitive Approach to the Avant-Garde Cinema Perverse? In Post Theory: Reconstructing Film Studies, ed. David Bordwell and Noël Carroll, 108–129. Madison: University of Wisconsin Press.
Ray, Man. 1927. Emak Bakia. Close Up 1 (2) (August): 40.
Ricœur, Paul, and Richard Kearney. 1978. Myth as the Bearer of Possible Worlds. Interview with Paul Ricœur. The Crane Bag 2 (1/2): 112–118.
Rosenbaum, Jonathan. 1983. Film: The Front Line. Denver: Arden Press.
Segal, Robert A. 1999. Theorizing About Myth. Amherst: University of Massachusetts Press.
Sitney, Adams P. 2002. Visionary Film: The American Avant-Garde, 1943–2000. Oxford: Oxford University Press.
Wees, William C. 1979. Visual Renewal in Stan Brakhage’s Dog Star Man. Atropos 1 (2) (Spring).
Willemen, Paul. 1973. Eisenstein/Brakhage. Studio International: Journal of Modern Art 185 (956) (June): 252–253.
Author information
Authors and Affiliations
Corresponding author
Rights and permissions
Copyright information
© 2019 The Author(s)
About this chapter
Cite this chapter
Baracco, A. (2019). Conclusion. In: Philosophy in Stan Brakhage's Dog Star Man. Palgrave Pivot, Cham. https://doi.org/10.1007/978-3-030-12426-7_6
Download citation
DOI: https://doi.org/10.1007/978-3-030-12426-7_6
Published:
Publisher Name: Palgrave Pivot, Cham
Print ISBN: 978-3-030-12425-0
Online ISBN: 978-3-030-12426-7
eBook Packages: Religion and PhilosophyPhilosophy and Religion (R0)