John Rhym
Biographic Data
| ID | 2179897 |
|---|---|
| NAME | John Rhym |
| GIVEN NAMES | John |
| FAMILY NAME | Rhym |
| SIGNATURE | RHYM J |
| AFFILIATIONS | National University of Singapore |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Cinematic Rehearsals of Phenomenology
This article argues that the strengths and problems of Shawn Loht's Phenomenology of Film: A Heideggerian Account of the Film Experience (2017) are rooted in its method, which derives from a specific interpretation of Heidegger's existential analytic and from the critical strategy implemented by Heidegger – and thus later adopted by his readers and applied to various disciplinary domains – in his polemical engagement with the history of philosoph…
Towards a Phenomenology of Cinematic Mood
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 se…
Towards a Phenomenology of Cinematic Mood
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 se…
Towards a Phenomenology of Cinematic Mood
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 se…
Cinematic Rehearsals of Phenomenology
This article argues that the strengths and problems of Shawn Loht's Phenomenology of Film: A Heideggerian Account of the Film Experience (2017) are rooted in its method, which derives from a specific interpretation of Heidegger's existential analytic and from the critical strategy implemented by Heidegger – and thus later adopted by his readers and applied to various disciplinary domains – in his polemical engagement with the history of philosoph…
Art (2 works) · Epistemology (2 works) · Literature (2 works) · Philosophy (2 works) · Sociology (2 works) · Aesthetics (1 work) · Affect (linguistics) (1 work) · Boredom (1 work) · Cinema and Media Studies (1 work) · Communication (1 work)