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Vivian Sobchack [20]Vivian Carol Sobchack [1]
  1.  43
    The Address of the Eye: A Phenomenology of Film Experience.Neal Oxenhandler & Vivian Sobchack - 1993 - Substance 22 (1):132.
  2.  44
    Living a ‘Phantom Limb’: On the Phenomenology of Bodily Integrity.Vivian Sobchack - 2010 - Body and Society 16 (3):51-67.
    This article is a phenomenological exploration and description of certain selected aspects of living the specificities and conundrums posed by what is usually, if problematically, called a ‘phantom limb’. Using my own body as an ‘intimate laboratory’, I attend to the dynamics and mutability of the supposed ‘phantom’, both during the post-operative period of the above-the-knee amputation of my left leg as well as after I began to use and incorporate my prosthetic leg. Throughout, I explore the reversible aspects of (...)
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  3. “The Active Eye”.Vivian Sobchack - 2016 - Studia Phaenomenologica 16:63-90.
    The foundational basis of the cinematic moving image is camera movement, which occurs not only in the image but also, and from the first, as the image. This essay approaches off-screen camera movement through phenomenological description of the gestalt structure of its four interrelated onscreen forms: the moving image as an intentional and composite “viewing view/viewed view”; the moving image as “qualified” by optical camera movement through subjective modes of spatiotemporal transcendence; the movement of subjects and objects in the moving (...)
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  4.  11
    Beating the Meat/surviving the Text, or How to Get Out of this Century Alive.Vivian Sobchack - 1995 - Body and Society 1 (3-4):205-214.
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  5. Toward inhabited space: The semiotic structure of camera movement in the cinema.Vivian Sobchack - 1982 - Semiotica 41 (1-4).
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  6. “Is Any Body Home?” Embodied Imagination and Visible Evictions.Vivian Sobchack - 1999 - In Hamid Naficy (ed.), Home, exile, homeland: film, media, and the politics of place. New York: Routledge. pp. 45.
  7.  91
    “Choreography for One, Two, and Three Legs”.Vivian Sobchack - 2004 - Topoi 24 (1):55-66.
    Choreography for One, Two, and Three Legs approaches the intentional formation of bodily movement and expression from the various perspectives of individuals who are differently abled. Exploring what it is for a non-dancer to experience various rhythms and movements and spaces with crutches, prosthetic leg, and cane, the essay interweaves phenomenological description and interpretation of suddenly defamiliarized daily activities with discourse drawn from the experiences of professional dancers who are differently abled. The aim is to foreground the opacities, transparencies, and (...)
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  8.  15
    Comprehending Screens: A Meditation in Medias Res.Vivian Sobchack - 2014 - Rivista di Estetica 55:87-101.
    This essay argues that the digitization and proliferation of contemporary screens has moved us from a “screen-scape” to an encompassing “screen-sphere” – a new topologically-bounded and systemically-organized domain that has not only radically changed our lifeworld but also our ontological and epistemological comportment in it. With reference to recent cartoons and other popular discourses as well as to Humberto Maturana and Francesco Varela’s description of, and distinction between, “autonomous” and “autopoietic systems,” the essay speculates on the organizational structure of this (...)
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  9. From screen-scape to screen-sphere : a meditation in Medias Res.Vivian Sobchack - 2016 - In Dominique Chateau & José Moure (eds.), Screens: from materiality to spectatorship: a historical and theoretical reassessment. Amsterdam: Amsterdam University Press.
     
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  10. Postfuturism.Vivian Sobchack - 2000 - In Gill Kirkup (ed.), The gendered cyborg: a reader. New York: Routledge in association with the Open University. pp. 136--147.
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  11. Phenomenology.Vivian Sobchack - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. New York: Routledge.
     
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  12.  35
    Remembering Paige Baty, III.Vivian Carol Sobchack - 1997 - Theory and Event 1 (4).
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  13.  74
    The insistent fringe: Moving images and historical consciousness.Vivian Sobchack - 1997 - History and Theory 36 (4):4–20.
    Using the form of cinematic montage, this essay explores the nature of historical consciousness in a mass-mediated culture where historical discourse takes the form of both showing and saying, moving images and written words. The title draws upon and argues with Roland Barthes's critique of the duplicity of the "insistent fringes" that supposedly reduce and naturalize "Roman-ness" to fringed hair in popular historical film. Barthes presumes a "certainty" in such a cinematic image, and hence deems it mythological-that is, "it goes (...)
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  14. When the ear dreams : Dolby digital and the imagination of sound.Vivian Sobchack - 2011 - In Jacques Khalip, Robert Mitchell, Giorgio Agamben, Cesare Casarino, Peter Geimer & Mark Hansen (eds.), Releasing the Image: From Literature to New Media. Stanford, California: Stanford University Press.
     
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