I’m on my way this week to the Society for Cinema and Media Studies Conference in LA, where I’ll be presenting, in miniature, the ecocritical/ecophilosophical model of cinema that I’m developing in my book-in-progress. This “process-relational” model draws on Peirce, Whitehead, Deleuze, Bergson, Heidegger, and others, with inspirational nods to psychoanalysis, cognitive film theory (which, to be honest, is a little less inspirational, but to some extent inevitable), and individual theorists like Sean Cubitt, John Mullarkey, and Daniel Frampton. Its ecophilosophical basis is that it is primarily concerned with the relationship between cinema — as a technical medium, a thing in the world, and a form of human experience — and the ecologies within which humans are implicated and enmeshed.
Here’s one articulation of that model.
The starting point: Films, or moving images, move us. They take us on journeys (metaphorical or real) into film-worlds. In this sense, films, like all art forms, produce or “disclose” worlds. These worlds are different (according to medium-specific regularities) from the profilmic or extra-filmic world. They are, for one thing, more dynamic (visually-audially) and more synthetic, insofar as they enable a complex array of fragmentations, juxtapositions, and recombinations of elements, and thus for a condensation and multiplication of meanings.
One part of my analysis is of those film-worlds themselves; a second is of our experience of being drawn into those film-worlds; and a third is of the relationship between the film-worlds (as we experience them) and the extra-filmic world.
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