Polanski and Perception

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Polanski and Perception

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dc.contributor.author Caputo, Davide en_US
dc.date.accessioned 2011-07-14T07:29:29Z en_US
dc.date.accessioned 2013-03-21T10:32:15Z
dc.date.issued 2010-11-16 en_US
dc.description.abstract Filmmaker Roman Polanski declares in his autobiography that he was greatly influenced by renowned neuropsychologist Richard L. Gregory (1923-2010), whose work, Polanski claims, gave scientific confirmation to many of his own beliefs regarding the nature of perception. Gregory was a strong advocate for what is referred to as the ‘indirect’ theory of perception, a theoretical model that stresses the agency of cognition, specifically hypothesisation, in the act of perceiving. This analysis of Polanski’s cinema is guided by an exploration of perceptual psychology, with special attention paid to how the theory of indirect perception differs from competing, and often more intuitive, models of perception. The two main focuses of this thesis are: a) to identify the ways in which Polanski’s cinematography is actively informed by neuropsychological research on perception, and b) to discuss the various ways in which the key philosophical implications of the theory of indirect perception find expression in his cinema. My analysis will focus primarily on two (unofficial) ‘trilogies’, what I refer to as the ‘Apartment Trilogy’ of Repulsion (1965), Rosemary’s Baby (1968), and The Tenant (1976), and the ‘Investigation Trilogy’ of Chinatown (1974), Frantic (1988) and The Ninth Gate (1999). Also included are minor case studies of Knife in the Water (1962), Death and the Maiden (1994), and The Ghost (2010). This thesis hopes to demonstrate the manner in which Polanski’s cinematic engagement with perceptual psychology evolves over his career, from more psychologically intimate explorations of the perceptual mechanism via portrayals of schizophrenia in his earlier films, to more distant studies of highly proficient perceiving bodies who are nevertheless confronted with serious challenges to their perceptual (and epistemological) frameworks. en_GB
dc.description.sponsorship AHRC en_GB
dc.identifier.grantnumber 2007/130483/University of Exeter en_GB
dc.identifier.uri http://hdl.handle.net/10036/3183 en_US
dc.language.iso en en_GB
dc.publisher University of Exeter en_GB
dc.rights.embargoreason Publication en_GB
dc.subject roman polanski en_GB
dc.subject richard gregory en_GB
dc.subject perception en_GB
dc.subject cinema psychology en_GB
dc.title Polanski and Perception en_GB
dc.type Thesis or dissertation en_GB
dc.date.available 2013-01-01T05:00:04Z en_US
dc.date.available 2013-03-21T10:32:15Z
dc.contributor.advisor Hayward, Susan en_US
dc.publisher.commercial Intellect en_GB
dc.publisher.department Film Studies en_GB
dc.type.degreetitle PhD in Film en_GB
dc.type.qualificationlevel Doctoral en_GB
dc.type.qualificationname PhD en_GB


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