Christian Ferencz-Flatz

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What Is Film Phenomenology
In this article Christian Ferencz-Flatz and I try to give an answer to the question what film phenomenology actually is. We proceed in three steps. First, we provide a survey of five different…
THE NEUTRALITY OF IMAGES AND HUSSERLIAN AESTHETICS
Although most interpreters admit that Husserl was not guided by an interest in aesthetics when dealing with the various issues of image consciousness, his considerations are nevertheless usually…
Humanizing the Animal, Animalizing the Human: Husserl on Pets
In several of his research manuscripts from the 1930s, Edmund Husserl considers the concrete life-world to be a world essentially determined by both humans and animals, or a “humanized” and…
Introduction: Notes on a Troubled Reception History
Phenomenology of Automatism. Habit and Situational Typification in Husserl
This paper tries to document Husserl’s reflections on the problem of “situations” in his later manuscripts of the 1930s. These reflections are centered on the phenomenon of “typificiation”, which…
Objects with a past: Husserl on “ad-memorizing apperceptions”
In a late notation from 1932, Husserl emphasizes the fact that a broad concept of “apperception” should also include, alongside his usual examples, the apprehension of objects as bearers of an…
The Empathetic Apprehension of Artifacts: A Husserlian Approach to Non-figurative Art
In his Ideas II, Husserl interprets the apprehension of cultural objects by comparing it to that of the human “flesh” and “spirit.” Such objects are not just “bodies” (Korper) to which a sense is…
You Talkin’ to Me? On Filmic Identification in Video-Selfies
Ten theses on the reality of video-chat: A phenomenological account
Abstract The following paper addresses the experience of reality in video-calls. To this extent, it first draws from Edmund Husserl’s phenomenological reflections that connect the question of reality…
Editors’ Introduction: What is Film Phenomenology?
What is fi lm phenomenology? Trying to answer this question forces us to overlook a wide fi eld, the contours of which seem to be as vague as the foggy landscapes in an Antonioni or Angelopoulos fi…
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