Philosophy in Stan Brakhage's Dog Star Man: World, Metaphor, Interpretation

Chapter 1 - Introduction

1.1     Theoretical Aspects and Possible Perspectives in Film Philosophy

1.2     Film Worlds Theory

1.3     Ricoeurian Hermeneutics of the Film World

1.4     Some Preliminary Conclusions

 

Chapter 2 - DSM and Philosophy

2.1     DSM Through Ricoeurian Hermeneutics

2.2     The Process of Interpretation

2.2.1          Phase 1: Understanding DSM's Film World

2.2.2          Phase 2: Explaining DSM's Film World

2.2.3          Phase 3: Critical Understanding of DSM's Film World

2.2.4          Structure and Schemata

2.3     DSM as Film World

 

Chapter 3 - Understanding DSM's Film World

3      

3.1     Initial Guess: Pure Visual Perception

3.2     Symbolic Elements of the Film World

3.3     DSM as Poetry of Vision

3.3.1          The Rhetorical-Stylistic Structure of DSM

3.3.2          The Rhythmic Structure of DSM

3.4     DSM as Epic Mythology

3.4.1          The Genesis

3.4.2          The Conflict

3.4.3          The Innocence

3.4.4          The Desire

3.4.5          The Death

 

Chapter 4 - Explaining DSM's Film World

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5      

6      

4.1     Origin of the Film World: Deren, Duncan and Brakhage's Heterodoxy

4.2     History of Interpretations: Camper and Sitney

4.3     Exegesis of Symbolic Meanings: Between Poetry and Myth

4.3.1     Poetry of Vision

4.3.2     Epic Mythology

4.4     Conflict of Interpretations: Is an Analytical Approach to DSM appropriate?

 

Chapter 5 - Critical Understanding of DSM's Film World

5      

6      

7      

8      

5.1     Critical Understanding of Interpretation: Further Clues on DSM's Film World

5.2     Critical Understanding of Interpreter: Mythopoesis

5.3     Critical Understanding of Film Philosophy: Rejection of Logocentric Metaphysics

 

Chapter 6 - Conclusion

6      

7      

8      

9      

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6.1     A Summary of our Journey into DSM's Film World

6.2     A Last Remark on Ricoeurian Film Hermeneutics