Towards a Phenomenology of Cinematic Mood

Boredom and the Affect of Time in Antonioni's L'eclisse

Datos Bibliográficos

ID4862228
AutoresJohn Rhym (autor de correspondencia)
Año2012
Volumen43
Número3
Páginas477-501
Fecha de publicación2012-06-01
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaNew Literary History (JOURNAL)
Identificadores de la revistaISSN: 0028-6087 • E-ISSN: 1080-661X
EditorialProject MUSE (PUBLISHER • US)
DOI10.1353/nlh.2012.0027
OpenAlexW1984309525
IdiomaEN
Citas recibidas7
Referencias citadas7

What sort of experiential phenomenon is boredom? Is it to be understood as an emotion or the lack thereof? If it is a mood, is it triggered by a determinate set of external stimuli, or is it an internal state that "colors" our perception of the world? More specific to the present study, how do we begin to make sense of the affective specifications of the boredom that we feel when watching a film-that is, what exactly are we feeling? This paper seeks to address these questions, first, by delineating how boredom as it operates in and through Antonioni's L'eclisse (1962) poses problems for current trends in the study of film spectatorship, and, second, by turning to the phenomenological project of Martin Heidegger, whose account of mood draws attention to the ways in which boredom affords a unique affective disclosure of our relationship to time. Thus, reading Heidegger alongside L'eclisse can elucidate the unusual kind of engagement that Antonioni's film demands, while also opening up new ways to think about film affect and ontology

Aesthetics · Affect (linguistics) · Art · Boredom · Epistemology · Evocation · Feeling · Literature · Mood · Perception · Phenomenology (philosophy) · Phenomenon · Pleasure · Psychotherapist · Sociology · Cinema and Media Studies · Communication · Digital Games and Media · Mind wandering and attention · Philosophy · Psychology · Social Psychology