Metaphysics and the Moving Image

"Paradise Exposed"

By: Trevor Mowchun

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Paperback | 30 November 2024

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265 Pages

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23.4 x 15.6 x 2.7

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Introduction: The Death of God, the Birth of Film, and the New Metaphysics

Chapter One Image Breakthrough: Disclosure and Derailment in Painting, Photography, and Film
I. Art in the Wake of Metaphysics
II. The Myth of the Lumi?re Leaf

Chapter Two The Evolution of the Concept of "World" from Philosophy to Film
I. The World in the Palm of Philosophy
II. Film in the World's Palm, or the World in its Own Image
III. Metaphysical Figures in Days of Heaven

Chapter Three Paradise Exposed: Psychic Automatism in Film
Primer: "While the will is off its watch"
I. The Mechanical Garden
II. Heinrich von Kleist's Marionette Theater
III. Robert Bresson's Filmic Models

Chapter Four Nature, Whose Death Shines a Light: Exteriority and Overexposure in The Thin Red Line
I. Introduction
II. Dramaturgy of Nature
III. A Cinematic Sublime
IV. Metaphysics of the Front

Chapter Five "Mother, I am Dumb ..." The Reevaluation of Friedrich Nietzsche in The Turin Horse

Industry Reviews

Mowchun has reawakened my love of philosophy and made me freshly mindful of the high calling of cinema as an art form. He brings the most anti-metaphysical positions and arguments into alignment with his own metaphysical reclamation scheme, demonstrating how inextinguishable metaphysical shadows and hankerings are, and how profitable it is to work against the grain of the thinkers he is exploring, without ever being dismissive of, or out of touch with their own aspirations.

--George Toles, University of Manitoba

Trevor Mowchun's extraordinary new book shines new light on our understanding of things far more basic than film, including experience, consciousness, perception, and reality. An extremely stylish and engaging author, Mowchun takes us on a tour of his own deepest concerns and passions, compels us to share them, and tells us something new about ourselves and the cinematic experiences we have had our whole lives, and which we now see we have failed to examine to their very depths.

--Justin E.H. Smith, University of Paris

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