ABSTRACT
Film-phenomenology is written from the perspective of the now.What do you see when you sit in front of a film-in the cinema, on your laptop or tablet or mobile device, in a park with an open-air inflatable screen, on television, or in a dilapidated warehouse with performers enacting parts of the film in front of you? What do you experience? Do you remember that you have a body that is connected to and through your eyes? Or do you become so engrossed in the film that you wince if flesh is pierced or a fireball erupts from a car, as if you were inside the world of the film yourself? Do you shiver from the over-active air-conditioning in the cinema or classroom, or are there goosebumps on your skin from a particularly shocking film sequence? Do you feel invited by the film to consider something other than what you see-what you hear for instance, what you are enticed to reach out to touch, or even to smell? These questions are phenomenological: they are about interrogating, describing, and accounting for the conditions that give rise to, or emerge from, the experience of viewing film.
