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W857506685 abstract "[ILLUSTRATION OMITTED] Martin Heidegger is a philosopher that has had a profound impact on twentieth century thought. Although widely influential in humanities, Heidegger's philosophy is rarely applied to study of film. This paper will examine relationship between cinematic representations of apocalyptic narrative and Heidegger's understanding of being and its inevitable end. In Being and Time, Heidegger establishes two possible ways that a self-conscious being (which he calls Dasein) can relate to imminence of its own demise. The inauthentic self will be primary focus of this paper, as Heidegger's ontology places cultural discourse such as film and mass media within realm of the a concept which this paper will deal with centrally. Although it is technically impossible (if one strictly follows Heidegger's organization) to depict authentic being-toward-death, some more recent apocalyptic films have made such an attempt, and complicate borders of understanding that Heidegger outlines in Being and Time. This paper will investigate articulation of apocalypse in these films through Heidegger's thought. The method of my analysis is undertaken with two goals in mind: first is to examine apocalyptic cinema from perspective of Heidegger's ontology, which will ideally yield a novel way to approach this genre. Secondly, I hope to demonstrate applicability of Heidegger to film studies, and to test strengths of Heidegger's concepts. I have chosen to use apocalyptic film as my point of entry for several reasons. It is popular, and thus reflects a desire in our culture (the they) to see these films. Also, content of these films is ultimately concerned with temporality, world, and death, all of which have their own special (and articulated) place in Heidegger's thought. The films that I will look at are Roland Emmerich's The Day After Tomorrow (2004) and 2012 (2009), and Lars von Trier's Melancholia (2011). As these films are ontic (i.e., an ephemeral manifestation particular to our world), cultural productions, they must be considered in light of Heidegger's concept of they: being-with-one-another dissolves one's own Dasein completely into kind of being of 'the others' in such a way that others, as distinguishable and explicit, disappear more and more. In this inconspicuousness and unascertainability, they unfolds its true dictatorship. We enjoy ourselves and fun way they enjoy themselves. We read, see, and judge literature and art way they see and judge. But we also withdraw from 'great mass' way they withdraw, we find 'shocking' what they find shocking. The they, which is nothing definite and which all are, though not as a sum, prescribes kind of being of everydayness. (1) In Being and Time, Heidegger leaves his description of they general; this is necessary because Heidegger's interest in Being and Time is a fundamental ontology that applies to all worlds and not a single, ontic world. As goal of my project is quite different, I intend on utilizing Heidegger's theories to explain a very specific ontic world, our own contemporary one. Where Heidegger is necessarily vague about behaviours and intentions of they (as these things are mutable and change from world to world), I intend to construct a more specific description of they of our ontic world in late capitalism. Heidegger's ontology will be used to explain ontic phenomenon of our world, and will thus give us a greater insight into relationship between ontic existence of they of now, as well as elucidating a facet of ontology of our cultural moment. The End of World on Film Film, as an art form, is concerned with diegesis; it is necessarily bound to some idea of world. Heidegger claims that common, vulgar understanding of world is a cultural misinterpretation of worldliness of world, and thus of world itself. …" @default.
W857506685 created "2016-06-24" @default.
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W857506685 date "2015-12-22" @default.
W857506685 modified "2023-09-22" @default.
W857506685 title "The End of the World: A Heideggerian Interpretation of Apocalyptic Cinema" @default.
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