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Cinema As Secular Church: a Phenomenological Typology and Hermeneutics

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Cinema As Secular Church: a Phenomenological Typology and Hermeneutics CINEMA AS SECULAR CHURCH CINEMA AS SECULAR CHURCH: A PHENOMENOLOGICAL TYPOLOGY AND HERMENEUTICS by MARTY FAIRBAIRN, B.A., M.A. A Thesis Submitted to the School of Graduate Studies In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy McMaster University (c) Copyright by Marty Fairbairn, October 1995 DOCTOR OF PHILOSOPHY (1995) MCMASTER UNIVERSITY (Philosophy) Hamilton, Ontario TITLE: Cinema as Secular Church: A Phenomenological Typology and Hermeneutics AUTHOR: Marty Fairbairn, B. A. (University of Guelph) M. A. (University of Guelph) SUPERVISOR: Gary B. Madison NUMBER OF PAGES: ix, 249 11 ABSTRACT The central claim of the present thesis is the idea that the film experience for us is the displaced expression of an interest which is fundamentally spiritual. A.fter offering a phenomenological typology of the film experience, the thesis argues that the common denominator of these various types is the desire to touch the wholly other, a peculiarly postmodem variant of a much older desire, the desire to transcend oneself. Postmodem, secularized man is in fact deeply spiritual and the film experience can be shown to be an increasingly self-conscious, though still sublimated expression of this neeed to transcend the limits of the flesh. What we get in the film experience is a religious smorgasbord, rather than any particular denominational perspective. The modem rise of science and technology as increasingly dependable sources of knowledge about the world, as well as various philosophical attacks which have been levelled at our ability to know the world and ourselves, have contributed to a growing sense of free-floating subjectivity. We no longer know exactly who we are. The vacuum left by the demise of religious authority cannot be filled by scientific/objective knowledge alone. We are in need of spiritual grounding as well, and through its contribution to constructed subjectivity, cinema is ideally suited to fill the void. 11l ACKNOWLEDGEMENTS I wish to thank my supervisor, Professor Gary Madison, for his generous help and support. I am forever indebted to Professor Jeff Mitscherling for his keen critical comments as well as his unfailing faith and friendship over the years. Professor Don Stewart read and offered many useful comments on several drafts of this thesis, for which I am most grateful, although I am under no illusion that I have completely satisfied him. I also wish to thank Felix 6 Murchadha for many philosophical discussions which have helped me get clearer about my work. Last but for me first, I wish to thank my wife, Beth, without whom, in ways too numerous to mention, this thesis would never have been written [you too, Les]. iv Table of Contents Table of Contents ............................................................................................... v List of Abbreviations ........................................................................................ Vlll INTRODUCTION: CINEMA AS SECULAR CHURCH ......................... 1 Notes to Introduction .......................................................................................... 8 CHAPTER ONE: SETTING THE STAGE ................................................. 11 Part I - General Background Section 1: Overall Plan 1.1 Background ............................................................................ 11 1.2 Problems with Philosophy of Film .................................... .. 12 Section 2: Working Definitions 2.1 SpIrltualIty .......................................................................... .. 26 2.2 Type 1 - Spiritual Transcendence ...................................... .. 37 2.3 Type 2 - Metaphysical Comfort ......................................... .. 38 2.4 Type 3 - Rupture ................................................................. 39 2.5 ModernlPostmodern ............................................................ .. 40 Section 3: Genres and Types 42 Part II - Phenomenological Description Section 1: The Phenomenological Method ........................................... 44 Section 2: Merleau-Ponty's Phenomenology of the Lived-Body and the Film Experience 2.1 Bodily Preconditions of Film Experience 47 Section 3: Types of Cinematic Experience 3.1 Criteria ................................................................................ 50 3.2 Henneneutic Phenomenology ............................................... 53 Part III - Secularization of Modern Spiritual Consciousness Section 1: Working Definition of "Secular" ......................................... 56 Section 2: Sacred and Profane ............................................................. .. 57 Notes to Chapter One ......................................................................................... 59 v CHAPTER TWO: TYPE ONE - FILMIC TRANSCENDENCE Section 1: A Working Definition of "Transcendence" 1.1 Transcendence ....................................................................... 67 1.2 Dissolution of the Self/Other Duality . ................................ 69 Section 2: A Phenomenological Description of Filmic Transcendence 71 Section 3: "Disinterestedness" and "Distance" Debate .......................... 74 Section 4: Filmic Transcendence 4.1 Filmic Transcendence and Spiritual Union ........................ 83 4.2 Point-of-view and Spiritual Engagement ............... ............. 85 4.3 Life-World on Film ............................................................. 87 Section 5: Transcendence and the "Other" 5.1 Transcending the Boundaries of the Self ............................ 88 5.2 Transcendence and "Mere Entertainment" .......................... 92 Section 6: Conditions of the Possibility of Filmic Transcendence 6.1 Gabriel Marcel and "Availability" .............. , ..... .................. 98 6.2 Filmic Transcendence as Availability to a Quasi-Subjectivity 100 6.3 The Self as City in Marcel..... ................................ ............. 101 Section 7: Summary of Type One Conclusions ................................... 103 Notes to Chapter Two ......................................................................................... 105 CHAPTER THREE: TYPE TWO - METAPHYSICAL COMFORT Section 1: A Working Definition of "Metaphysical Comfort" l.1 Displacement of Spiritual Interest ...................................... 111 l.2 Nietzsche's Notion of "Metaphysical Comfort" ................ 113 l.3 Structure .............................................................................. 116 Section 2: Our Spiritual Situation: Heidegger, Ricoeur, Derrida and the Possibility of Truth 2.1 Heidegger, The Work of Art, and the Clearing ................ 117 2.2 Paul Ricoeur on Language ................................................ .. ll8 Section 3: A Phenomenological Desription of Metaphysical Comfort 3.1 M arce 1, sobonN' 0 f "0paclty ." ........................................... .. 124 3.2 U naval'1 a b'l'I lty as "E ncumb rance " ...................................... .. 126 Section 4: Desire for Possession of the Other 4.1 Cinema and Desire for Metaphysical Comfort ................. 127 4.2 The Seen and the Unseen ................................................... 130 4.3 Baudry and the Cinematographic Apparatus ..................... 131 Section 5: Merleau-Ponty and the Cinematic Apparatus 5.1 The Film Experience and the Body .................................. 132 5.2 Point-of-view - the Body's Being in the World ............... 136 Section 6: Summary of Conclusions from Chapter Three .................. 138 Notes to Chapter Three ....................................................................................... 140 VI CHAPTER FOUR: TYPE THREE - RUPTURE Section 1: A Working Definition of "Rupture" 1.1 A Severe Break with Life-World Expectation ................... 144 1.2 Conventional Narrative vs. Life-World Expectations ........ 148 Section 2: Horror and Life-World Expectations Frustration 2.1 Horror as Rehearsal.................... ........ ........................ ......... 149 2.2 Heidegger, The Uncanny, and Rupture .............................. 151 2.3 Heidegger's Clearing and the Uncanny.............................. 153 2.4 AttractionlRepulsion - Horror and the Sacred .................... 155 Section 3: Phenomenology of Religion and Rupture 3.1 Rudolph Otto and the mysterium tremendum et fascinans 160 Section 4: Summary of Conclusions from Chapter Four ..................... 165 Notes to Chapter Four ........................................................................................ 167 CHAPTER FIVE: PHENOMENOLOGY OF RELIGION AND CINEMATIC CONSCIOUSNESS Section 1: Introduction 1. 1 General ................................................................................ 169 1.2 Historical Background ..... .................................................... 172 1.3 Our Modem Spiritual Situation ........................................... 176 Section 2: The Sacred and the Cinematic ............................................ 180 Section 3: Early Religion and the Cinematic 3.1 Gnosticism and the Cinematic ................................. ... ........ 184 3.2 Manichreism and Cinematic Consciousness ....................... 189 Section 4: The Horizon of Darkness 4.1 Kwant's Phenomenology of Expression ............................. 191 4.2 The Idea of the Holy, Part 2 ............................................... 194 4.3 Poetic Dwelling, The Holy and Cinema ............................. 200 Section 5: Phenomenology of Religion and Phenomenology of Film 5.1 Sacred and Profane .............................................................
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