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James Joyce and the Phenomenology of Film$
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Cleo Hanaway-Oakley

Print publication date: 2017

Print ISBN-13: 9780198768913

Published to Oxford Scholarship Online: July 2017

DOI: 10.1093/oso/9780198768913.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 28 November 2021

Reciprocal Seeing and Embodied Subjectivity

Reciprocal Seeing and Embodied Subjectivity

Chapter:
(p.7) 1 Reciprocal Seeing and Embodied Subjectivity
Source:
James Joyce and the Phenomenology of Film
Author(s):

Cleo Hanaway-Oakley

Publisher:
Oxford University Press
DOI:10.1093/oso/9780198768913.003.0002

This chapter considers the previous ways in which literary scholars have used film theory in their interpretations of Ulysses. Joyce scholars have tended to favour the psychoanalytic film theories of Christian Metz and Laura Mulvey, employing them in their analyses of the relationship between Gerty and Bloom in the ‘Nausicaa’ episode of Ulysses. Phenomenology is offered as an alternative approach, as a way of seeing beyond the seemingly rigid binaries of seer/seen, subject/object, absorptive/theatrical, and personal/impersonal. Starting from Merleau-Ponty’s ‘The Film and the New Psychology’ (1945), then moving on to consider the ideas of contemporary film phenomenologists (such as Vivian Sobchack, Spencer Shaw, and Jennifer Barker), the second half of the chapter outlines the insights provided by phenomenology, focusing on the reciprocity of cinematic perception and the embodied nature of film spectatorship.

Keywords:   Christian Metz, Laura Mulvey, Jacques Lacan, psychoanalytic, James Joyce, Maurice Merleau-Ponty, film, Vivian Sobchack, Spencer Shaw, Jennifer Barker

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