This thesis takes as its focus the relation between particular constructions of filmic time and the resulting affective and emotional experiences these temporalities produce on a spectatorial level. This connection between time and affect is thought through more specifically here in relation to an idea of the everyday not only as a thematic concern with the minutia of routine daily existence but also as distinct, and yet shifting, conceptions of filmic and viewing time. While film studies has often approached the temporal construction of the quotidian through the rubric of ???real time,??? I explore different articulations of the everyday in a number of film practices through the writings of Henri Lefebvre. As a sociologist and philosopher preoccupied with the revolutionary quality of everyday time in both material reality and art practices including film, Lefebvre???s work enables this thesis to approach film as an especially potent and significant site for affective experiences of time and of the everyday. Beginning with John Cassavetes??? Faces (1968) and an analysis of an affective everyday temporality that film is able to produce as a temporal medium, this thesis goes on to consider the quotidian through photography and stillness in Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975), dying and witnessing via Silverlake Life: The View from Here (Tom Joslin and Peter Friedman, 1993), and finally melodrama and unrequited love in Wong Kar-wai???s In the Mood for Love (Huayang Nianhua, 2000). In the analysis of these films and videos, this thesis draws on film debates explicitly concerned with time as well as focusing on those places in philosophy and critical theory where a promising and productive articulation of film and its inscription of time and affect can be found and conceptualised. In this investigation, the everyday as both a temporal construction and a spectatorial affective experience is a means to reflect on the cinema as a continually shifting and dynamic affective site.

In my thesis I develop a theory of our mental, physiological and emotional involvement with motion pictures that accounts for the distinct role of perception in our cinematic experiences. In particular, I present a (limited) resemblance view of cinematic perception and depiction that begins with an analysis of motion picture screenings as events in the world to which audience members share perceptual access and to which we can attribute complex visual and auditory properties. By understanding the precise nature of these properties and by understanding the mind's rich and dynamic relationship to visual and auditory stimuli, we can meet the demand of explaining the essential contribution of perception to our cinematic experiences. This positive theory is introduced through a philosophical and empirical critique of the work of several contemporary "cognitivist" film theorists who can been faulted for (i) falling into the traps of traditional illusion accounts, (ii) failing to account for the perceptual nature of our film experiences, or (iii) incorrectly characterizing the nature of our perceptual relationship to cinematic content.

This thesis takes as its focus the relation between particular constructions of filmic time and the resulting affective and emotional experiences these temporalities produce on a spectatorial level. This connection between time and affect is thought through more specifically here in relation to an idea of the everyday not only as a thematic concern with the minutia of routine daily existence but also as distinct, and yet shifting, conceptions of filmic and viewing time. While film studies has often approached the temporal construction of the quotidian through the rubric of ???real time,??? I explore different articulations of the everyday in a number of film practices through the writings of Henri Lefebvre. As a sociologist and philosopher preoccupied with the revolutionary quality of everyday time in both material reality and art practices including film, Lefebvre???s work enables this thesis to approach film as an especially potent and significant site for affective experiences of time and of the everyday. Beginning with John Cassavetes??? Faces (1968) and an analysis of an affective everyday temporality that film is able to produce as a temporal medium, this thesis goes on to consider the quotidian through photography and stillness in Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975), dying and witnessing via Silverlake Life: The View from Here (Tom Joslin and Peter Friedman, 1993), and finally melodrama and unrequited love in Wong Kar-wai???s In the Mood for Love (Huayang Nianhua, 2000). In the analysis of these films and videos, this thesis draws on film debates explicitly concerned with time as well as focusing on those places in philosophy and critical theory where a promising and productive articulation of film and its inscription of time and affect can be found and conceptualised. In this investigation, the everyday as both a temporal construction and a spectatorial affective experience is a means to reflect on the cinema as a continually shifting and dynamic affective site.

The thesis examines the Peer Mobilization film series to determine if they are effective tools to positively affect mental health.

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This thesis explores the historical, theoretical and philosophical development of cinematic media as a collective form of technological perception and consciousness. Central to my inquiry is the philosophical notion that with the invention of cinema emerges a cyborg vision, a new modern mechanics of thinking that extends the phenomenological and epistemological experience of human perception and knowledge into hitherto unknown realms of thinking, sensation and being. Drawing on some of the key cultural thinkers and philosophers of the twentieth century, including Walter Benjamin and Gilles Deleuze, as well as contemporary philosophers of media such as Jonathan Beller, Sean Cubitt, D.N. Rodowick and Mark B. Hansen, my research into the philosophy of cinema and digital media articulates a branch of media theory that reads the political economy of the moving image through an amalgam of continental philosophy, marxist theory and film studies. Coterminous with the investigation into the philosophical object of cinematic or media consciousness, the thesis also endeavors to map the historical genealogy of the moving image as it evolves from the industrial mechanics of cinematic technologies to the virtual informatics of digital culture. Central to this inquiry is the idea that the history of cinematic and visual media is inextricably connected with the rise, towards the end of the twentieth century, of postmodern consumer culture and the global information society. The transition from a modern industrial economy to a postmodern information economy that reorganises the logic of production according to the 'variables' of scientific knowledge, communication and informational technologies, parallels a metamorphosis in our media consciousness as the representational ontology of cinematic moving image is transformed by the virtual ontology of the digital image. The first part of my thesis looks at the period of industrial cinema, focusing on Soviet constructivism and the films of Dziga Vertov and Sergei Eisenstein. In this section I trace the origins of cinema as a mode of communication for the commodity, examining how the modern cinematic imaginary opens up new economies of vision and sensation for capital. Following this investigation into what Jonathan Beller calls the cinematic mode of production, the second part of my thesis proceeds to investigate how cinematic consciousness is transformed from the industrial to the post-industrial era. Taking Deleuze's historiographical demarcation of cinema into the two regimes of the 'movement-image' and the 'time-image' as a philosophical frame, the second section of my thesis investigates how in the post-war films of the Italian neorealists and Michelengelo Antonioni our cinematic consciousness develops a new way of thinking the ontology of time and space. This analysis leads into my discussion of how in the age of digital special effects and the Hollywood blockbuster, cinematic consciousness is further expanded with the time-consciousness of the 'virtual' as our bodies attempt to accommodate the heightened flows of information that bombard our senses in the interfaces of digital culture.

This thesis is designed to determine the impact of the archetype of the Great Mother on the plot, characterizations, and interpersonal relationships in three contemporary films. Chapter I describes the elements and applications of the archetype and the Jungian analysis employed in the study. Chapter II details the phases of the Great Mother archetype and discusses Jung's process of individuation and how the Great Mother controls this quest. Chapters III, IV, and V focus on The Heretic, Network, and Looking for Mr. Goodbar respectively. Chapter VI summarizes the existence and power of the archetype in the films and postulates that the image of women in film may be stereotyped due to the Great Mother archetype.

Within the past thirty years, privacy concerns among American citizens are rising with counter-terrorist surveillance going beyond targeting people of interest. These concerns are reflected in American cinema where many contemporary films have explored surveillance in society. The textual analyses presented in the thesis will focus on three such films, Strange Days (1995), Southland Tales (2005), and Nightcrawler (2014). Throughout this thesis, I examine how each of these films offers a unique, reflexive take on surveillance, adhering to generative mechanisms that evoke differing attitudes about surveillance through their form. My analysis draws on Laura Mulvey and Patricia Pisters’ theories on the gaze to understand the politics of looking in contemporary surveillance cinema and highlight how cinematic scopophilia evolved into a networked perspective. My analysis suggests that the politics of surveillance cinema is reflected in these films as their differences mirror the changing perception of surveillance and the gaze over time. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

This thesis demonstrates how the film High Fidelity successfully adapts the book through both point of view and the sound track to reveal Rob's narcissism and his growth as a character.

Drugs, Danger, Delusions (and Deleuzians?) opens up a philosophical investigation into a series of ‘extreme’ mind and body films drawn from different historical contexts. Through two sections and four distinct chapters, cinema is explored as an agent of becoming that allows viewers to think and feel in an affected manner. Investigating a broad spectrum of extreme narratives focusing on drugs, hooligan violence, insomnia and madness, the project provides a focused historical understanding of the films’ affective regimes and aesthetic agendas. The different lines of flight and escape explored on-screen all somehow appear to spiral around the same issues, concepts, ideas and philosophies. Utilising the cinematic theories of Gilles Deleuze along with his philosophical work co-authored with Félix Guattari, the thesis aims to investigate a range of related films, that in the extreme, reveal underlying models of an integrated or parallel mind and body and immanently embedded identity; wherein the concept of a stable and fixed being is replaced by that of a fluid becoming. All chapters investigate how immanently embedded characters embark upon extreme or dangerous lines of escape, where the reinvention of living and thinking is explored and made visible. The first section investigates a range of ‘head-films’ that take the mind as their theme, but are found to plicate and expand consciousness into the parallel body. The second section investigates extreme body films that push the sensory-motor schema to its limits so that thought, perception and consciousness become affected. The two interrelated sections investigate how the films and filmmakers employ different regimes of mind and body cinema to aesthetically convey and relay these concepts to the spectator. The project thus strives to develop Deleuzian paradigms beyond their original scope to explore parallel-image regimes and sequences that allow spectators to think and feel the films’ underlying philosophical concepts and positions.