THE ADDRESS OF THE EYE

the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both mine and another s. In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.