Show simple item record

dc.contributor.advisorStaiger, Janeten
dc.creatorSchmidt, Lisa Marie, Ph. D.en
dc.date.accessioned2010-10-27T16:32:47Zen
dc.date.available2010-10-27T16:32:47Zen
dc.date.issued2010-08en
dc.identifier.urihttp://hdl.handle.net/2152/8908en
dc.descriptiontexten
dc.description.abstractThis dissertation explores the embodied and sensory dimensions of fantastic film, those elements that are generally held up in contrast to and, often, in excess of, narrative structure. I suggest a departure from the traditional approach to genre study which has been preoccupied with narrative formulas, themes, and iconographies. My goal is not to dispense with those kinds of analyses but to complement them and, importantly, to point to some neglected dimensions of genre pleasure. I propose to transform the presumably excessive pleasures of the fantastic genre into something essential to it. First, I explore the disavowal or avoidance of embodied sensation within popular genre criticism. I then turn to critique existing models of film reception, focusing particularly upon a critique of the ocularcentric or visualist framework. From this critique, I am able to suggest some criteria for an alternative theoretical model based upon embodiment. I propose a theoretical framework based, first, on the phenomenology of Maurice Merleau-Ponty, who demonstrates that human subjects are constituted materially and culturally through their perceptual relations within the world. Second, I rely upon a further interpretation of this phenomenology by the American philosopher Don Ihde. Ihde’s work, configured as “postphenomenology,” draws variously from technoscience studies, the philosophy of science, feminist, and posthumanist theory, and sketches a system for the application of an experimental phenomenology. With this method, I explore various embodied, sensational aspects of fantastic genre films, i.e., spectacle, gore, musical genre conventions. I describe and relate these aspects of fantastic film to other cultural venues, exploring common themes and structures among them. From this, I draw some conclusions as to the nature of these sensational genre pleasures for embodied human individuals. Simultaneously, I consider the possibilities for embodied difference among individuals.en
dc.format.mediumelectronicen
dc.language.isoengen
dc.rightsCopyright is held by the author. Presentation of this material on the Libraries' web site by University Libraries, The University of Texas at Austin was made possible under a limited license grant from the author who has retained all copyrights in the works.en
dc.subjectEmbodimenten
dc.subjectSpectacleen
dc.subjectFilm genresen
dc.subjectFantastic filmen
dc.subjectPhenomenologyen
dc.subjectFilm criticismen
dc.subjectCinemaen
dc.subjectScience fiction filmsen
dc.subjectHorror filmsen
dc.subjectFantasy filmsen
dc.titleSensational genres : experiencing science fiction, fantasy and horroren
dc.description.departmentRadio-Television-Filmen
thesis.degree.departmentRadio-Television-Filmen
thesis.degree.disciplineRadio-Television-Filmen
thesis.degree.grantorThe University of Texas at Austinen
thesis.degree.levelDoctoralen
thesis.degree.nameDoctor of Philosophyen


Files in this item

Thumbnail

This item appears in the following Collection(s)

Show simple item record