Cinema

Edited by Lingfei Luan (Bowling Green State University)
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  1. Solaris, regia Andrei Tarkovsky - Tehnica cinematografică.Nicolae Sfetcu - manuscript
    Tarkovsky a dezvoltat o teorie a cinematografiei pe care a numit-o "sculptarea în timp". Prin aceasta el a vrut să evidențieze caracteristica unică a cinematografiei ca mediu, aceea de aborda experiența noastră despre timp și de a o modifica. Filmul neregulat transcrie timpul în timp real. Folosind filmări lungi și câteva tăieturi în filmele sale, el a urmărit să ofere spectatorilor un sentiment de trecere a timpului, timpul pierdut și relația dintre un moment de timp și altul. El consideră cinematografia (...)
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  2. Análisis cinematográfico de la película peruana Jarjacha. El demonio del incesto (2000). Perspectivas de Gilles Deleuze y Alain Badiou.Jesús Miguel Delgado Del Aguila - 2022 - Opuntia Brava 13 (3):217-228.
    Este artículo extrapola conceptos cinematográficos que desarrollan Gilles Deleuze y Alain Badiou, tales como movimiento, cuadro, plano y montaje. El propósito de corroborar estas categorías es para articularlas en el largometraje del director Melinton Eusebio, Jarjacha. El demonio del incesto (2000), y detectar la cosmovisión concomitante que prevalece en una localidad distanciada de la capital, caracterizada por la presencia andina de una tradición y una organización política basada en el sometimiento de una localidad hacia un alcalde, quien dictamina y castiga (...)
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  3. Film Theory After Copjec.Anthony Ballas - 2021 - Canadian Review of American Studies 1 (51):63-82.
    The importation of Lacanian psychoanalysis into film theory in the 1970s and 1980s ushered in a new era of cinema scholarship and criticism. Figures including Raymond Bellour, Laura Mulvey, and Christian Metz are often considered the pioneers of applying Lacanian psychoanalysis in the context of film theory, most notably through their writings in Screen Journal. However, where French and British scholarship on Lacan and film reached its limits, American Lacanianism flourished. When Joan Copjec’s now classic essay “The Orthopsychic Subject: Film (...)
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  4. The Specter of the Electronic Screen: Bruno Varela's Reception of Stanley Cavell.Byron Davies - 2021 - In David LaRocca (ed.), Movies with Stanley Cavell in Mind. London, UK: pp. 72-90.
    An analysis of some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela via the latter’s reading of the late U.S. philosopher Stanley Cavell, especially Cavell’s 1982 essay “The Fact of Television.” This essay focuses on the aesthetic possibilities of the very constitution of the electronic image, based in Cavell’s understanding of television’s dependence on notions of “switching,” as opposed to “succession,” as well as how those notions play a role in Varela’s understanding of what it is (...)
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  5. La transgresión de lo tradicional y el código ético en Un perro andaluz (filme 1929).Jesús Miguel Delgado Del Aguila - 2021 - Ciencia y Desarrollo 25 (1):27-35.
    Este artículo reconstruye el contexto histórico y cinematográfico que permitió que la película de Luis Buñuel y Salvador Dalí tuviera una intencionalidad distinguible. Para demostrar ese acápite, retomo los estudios críticos que se han hecho en torno a este cortometraje, así como las categorías pertinentes de las vanguardias del dadaísmo y el surrealismo, junto con el psicoanálisis de Sigmund Freud y Jacques Lacan. Con todo ello, propongo que el objetivo de este trabajo es fundamentar las razones que generaron que esta (...)
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  6. «VI Congreso Internacional de Narrativa Fantástica 2019 (Lima, Perú)» (resumen).Jesús Miguel Delgado Del Aguila - 2021 - Revista Ciencia Multidisciplinaria CUNORI 5 (1):153-162.
    El VI Congreso Internacional de Narrativa Fantástica 2019 se realizó en la capital del Perú del 23 al 25 de octubre de 2019. Fue organizado por el Centro de Estudios Literarios Antonio Cornejo Polar y auspiciado por el Instituto Raúl Porras Barrenechea. Elton Honores asumió la función principal para la administración del evento. La convocatoria consideró las propuestas del subgénero fantástico, desde las creaciones artísticas de Borges, Poe y Oesterheld. También, se interrelacionó lo fantástico con conceptos conexos como los de (...)
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  7. Aguirre, Caché, and Creating Anti-Colonialist Puzzles: A Normative Perspective.Yusuf Yuksekdag - 2021 - In Handbook of Research on Contemporary Approaches to Orientalism in Media and Beyond. Hershey, PA, USA: pp. 165-180.
    This chapter explores the anti-colonial narrative potential of certain works of cinema taking Aguirre, the Wrath of God and Caché as a case in point. To do so, this chapter first and mainly draws upon the theoretical and normative lens put forward by Gayatri Chakravorty Spivak on the representation of the colonized other and her resulting political and intellectual call for self-reflection on one's privileged Western intellectual positioning. This lens has many normative implications for the ways in which the colonized (...)
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  8. Estética inorgánica. Detroit en Only Lovers Left Alive.Leonardo Arriagada - 2020 - Archivos de la Filmoteca (78):111-124.
    El cine de Jim Jarmusch es reconocible por captar momentos de quietud en los que la acción y el drama son secundarios. Es por ello que su film Only Lovers Left Alive ha sido tan destacado por críticos y académicos. Esta película ha llevado a la pantalla la estética ruinosa de Detroit. Este artículo amplía esas recientes investigaciones, para postular que la Detroit de Jarmusch es una ciudad estéticamente inorgánica. Siguiendo a grandes rasgos los lineamientos de Wilhelm Worringer, se analiza (...)
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  9. Accidents Made Permanent: Theater and Automatism in Stanley Cavell, Michael Fried, and Matías Piñeiro.Byron Davies - 2020 - Modern Language Notes 135 (5):1283-1314.
    This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of his claim (...)
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  10. The Post-Cinematic Gesture: Redhack.Ekin Erkan - 2020 - Zapruder World 6.
    Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, the term (...)
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  11. The Post-Human Media Semblance: Predictive Catastrophism.Ekin Erkan - 2020 - Rhizomes: Cultural Studies in Emerging Knowledge 36.
    Since the advent of media archeology, a deep-seated bifurcation has found one end of the field arguing for the interventionist and appropriative weaponization of media whereas the other side has championed a “total war” with technology itself, insisting that new media’s military-industrial roots inherently color its drivability. Here, I implore a moment within the cultural history of net.art and post-internet art to examine how contemporaneous queries about control after militarism and decentralization, as prognosticated by Paul Virilio and Gilles Deleuze, are (...)
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  12. Slicing Up Eyeballs: The Criminal Underworlds of Nicolas Winding Refn.M. Blake Wilson - 2020 - Philosophical Journal of Conflict and Violence 4 (2):15-39.
    From Buñuel and Dali’s Un Chien Andalou to recent works by Danish filmmaker Nicolas Winding Refn, the cinematic destruction of the eye has become iconic due to its striking effect upon film spectators’ visceral experiences as well as its ability to influence their symbolic or fetishistic desires. By exploiting the natural discomfort and disgust produced by these types of images and then situating them within an aesthetic and psychoanalytic framework, Refn and other filmmakers provide a visual showcase for a unique (...)
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  13. Sternberg and Dietrich: The Phenomenology of Spectacle. [REVIEW]Maria Irene Aparicio - 2019 - Cinema - Journal of Philosophy and the Moving Image (11):191-198.
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  14. “You Ain’T Gonna Get Away Wit’ This, Django”: Fantasy, Fiction and Subversion in Quentin Tarantino’s, Django Unchained.Jack Black - 2019 - Quarterly Review of Film and Video 36 (7):611-637.
    From 2009 to 2015, U.S. director, Quentin Tarantino, released three films that were notable for their focus on particular historical events, periods and individuals (Inglorious Basterds 2009; Django Unchained 2012; The Hateful Eight 2015). Together, these films offered a specifically “Tarantinian” rendering of history: rewriting, manipulating and, for some, unethically deploying history for aesthetic effect. With regard to Django Unchained, this article examines how Tarantino’s historical revisionism provides a valuable point of inquiry into the ways in which “history” is depicted (...)
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  15. The Generic Unmasked: Reproducibility and Profanation.Ekin Erkan - 2019 - Triple Ampersand 8:5.
    Walter Benjamin’s oft-quoted 1936 essay “The Work of Art in the Age of Its Technological Reproducibility” advances the claim that, for the first time in history, the “function” of the work of art is political, as evidenced by cinema. For Benjamin, film is the “first art form whose artistic character is entirely determined by its reproducibility” and Giorgio Agamben, a contemporary Benjaminian philosopher, further elucidates this “function,” positing that cinema essentially ranks with ethics and politics, not solely with aesthetics, and, (...)
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  16. Деякі зауваги до методології культурологічної аналітики кінематографа.Olga Kyrylova - 2019 - «Наукові Записки НаУКМА. Історія І Теорія Культури» 2 (9):64-71.
    У статті ставиться питання про побудову інструментальної моделі культурологічної аналітики кінематографа. Запропоновано виокремити такі її методологічні виміри: морфологічний, історико-культурологічний, культурно-типологічний, культурно-цивілізаційний, семіотичний, культурно-антропологічний та деякі інші. На відміну від універсальної, обґрунтовано специфічну культурологічну модель танатологічного аналізу кінематографа з такими рівнями: танатохронотопічним, еротанатологічним та ін.
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  17. Machine.Thomas Patrick Pringle, Bernard Stiegler & Gertrud Koch - 2019 - Minnesota University Press and Meson Press.
    In today’s society of humans and machines, automation, animation, and ecosystems are terms of concern. Categories of life and technology have become mixed in governmental policies and drive economic exploitation and the pathologies of everyday life. This book both curiously and critically advances the term that underlies these new developments: machine.
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  18. L'immagine-inazione. Lo spazio e il tempo nel passaggio dall'image-mouvement all'image-temps in Gilles Deleuze.Fabio Vergine - 2019 - In Enrico Giannetto (ed.), La memoria del cielo. Catania CT, Italia: pp. 1-18.
    Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e sonora pura. Per (...)
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  19. The Cinema of Poetry. [REVIEW]Maria Irene Aparicio - 2018 - Cinema - Journal of Philosophy and the Moving Image (10):183-188.
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  20. Art History for Filmmakers. The Art of Visual Storytelling. [REVIEW]Maria Irene Aparicio - 2018 - Cinema Journal of Philosophy and the Moving Image (10):193-197.
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  21. On Superhero Stories: The Marvel Cinematic Universe as Tolkienesque Fantasy.A. G. Holdier - 2018 - Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature 36 (2):Article 6.
    By considering the movies in the Marvel Cinematic Universe as a case study, I bring Tolkien’s explication of mythopoesis in “On Fairy Stories” to bear on the current popularity of superhero films to argue that such works qualify as cinematic examples of Tolkienesque fantasy tales. After summarizing Tolkien’s criteria for the genre in Nietzschean aesthetic terms, I both demonstrate how the builders of the MCU have crafted a sub-created fictional world and defend the existence of fairy stories in visual media (...)
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  22. Філософія кіно, метод моделювання та проблема декадентського кінотвору.Olga Kirillova - 2018 - NaUKMA Research Papers. History and Theory of Culture 1:17-23.
    Статтю присвячено реконструкції узагальненої моделі твору декадентського кінематографа як стилізованого кінематографа moderne, що є яскравим прикладом застосування філософської інтерпретації до кінематографа і феномену кінореальності. Ця модель має такі рівні: морфологічний, стилістичний, інтертекстуальний, ритмічний, аудіальний, тактильний, монтажний, специфічно-антропологічний і специфічно-наративний.
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  23. Кіно у творчості Василя Герасим’юка.Myroslav Laiuk - 2018 - NaUKMA Researh Papers. Literary Studies 1:70-73.
    У статті досліджено роль кіно у творчості Василя Герасим’юка. Простежено особливості використання кінематографічних прийомів, проаналізовано цитування кінокласики, розкрито значення постаті І. Миколайчука у текстах В. Герасим’юка. Розглянуто вплив «поетичного кіно» і особливо стрічки «Тіні забутих предків» на формування «карпатського тексту» поета.
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  24. De la imagen-acción a la imagen-tiempo. Un análisis de Paterson, de Jim Jarmusch.Clara Zimmermann - 2018 - Aura, Revista de Historia y Teoría Del Arte 7:156-166.
    In the present study, I will consider the crisis of the movement image, and the emergence of a new type of image, namely, the time image. First, I will analyze certain basic concepts used by Deleuze (1925-1995) and by Bergson (1859- 1941) to understand the new type of image that emerges from an interruption of our natural perception, granting us -by separating ourselves from all our previous experiences- pure optical and sound perceptions. Secondly, I will trace the changes that, both (...)
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  25. Retrato e fisionomia do Mundo em "Cristóvão Colombo, o enigma".Maria Irene Aparicio - 2017 - Journal of Lusophone Studies 2 (1):76-91.
    This article considers how Portuguese cinema questions the possibility of any cinematic representation of national identity. By exposing the subjective mechanisms and the artistic construction of Manoel de Oliveira's Cristóvão Colombo, o enigma (2007), I argue that the film serves as a portrait despite being an affective landscape—what John Caspar Lavater has referred to as a physiognomic. Oliveira achieves this through the atemporal depiction of his own experience of the facts and fictions of Portuguese history. I also examine the Wagnerian (...)
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  26. Пропаганда у сучасному російському кінематографі.Vladyslav Levytskyi - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:29-32.
    Статтю присвячено розгляду пропаганди у сучасному російському кінематографі. Зроблено спробу оглянути і порівняти обмежену вибірку фільмів 2009–2014 рр., показати прийоми пропаганди і їх зв’язок між внутрішньою та зовнішньою політикою Російської Федерації.
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  27. On the Oddly Satisfying.Evan Malone - 2017 - Contemporary Aesthetics 15.
    In this paper, I propose a novel theory for why we find certain mundane everyday experiences, objects, and phenomena satisfying aesthetic experiences. I refer to these as 'oddly satisfying' experiences, and argue that they assert themselves as aesthetic by being suggestive of the cinematic. This cinematic quality is the product of everyday experiences gesturing towards a kind of careful artistic intent.
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  28. Поезія і/чи проза: до археології однієї дискусії в радянському кіно.Briukhovetska Olga - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:33-41.
    У дослідженні проаналізовано теоретичні джерела і політичні наслідки статті московського кінокритика М. Блеймана «Архаїсти чи новатори?» (1970), яку вважають обґрунтуванням заборони школи українського поетичного кіно як «безперспективного» напряму. Статтю М. Блеймана вміщено в контекст дискусії про поетичне і прозаїчне кіно, яку систематизовано щодо двох підходів: нормативного, який вважає лише один із напрямів кіно релевантним його природі (йому відповідає сполучник «чи»), і плюралістичного, який розглядає обидва напрями як актуалізації різних кінематографічних потенцій згідно з тими завданнями, що ставлять режисери (йому відповідає сполучник (...)
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  29. Volodymyr Vynnychenko and the Early Ukrainian Decadent Film (1917–1918).Kirillova Olga - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:52-55.
    The article is focused on the phenomenon of the early Ukrainian decadent cinema, in particular, in relation to filmings of Volodymyr Vynnychenko’s dramaturgy. One of the brightest examples of ‘film decadence’ in Vynnychenko’s oevre is “The Lie” directed by Vyacheslav Vyskovs’ky in 1918, discovered recently in the film archives. This film displays the principles of ‘ethical symbolism’, ‘dark’ expressionist aesthetics and remains the unique masterpiece of specifically Ukranian film decadence.
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  30. A View to a Kill: Perspectives on Faux-Snuff and Self.Steve Jones - 2016 - In Neil Jackson, Shaun Kimber, Johnny Walker & Thomas Watson (eds.), Snuff: Real Death and Screen Media. Bloomsbury Academic. pp. 277-294.
    Scholarly debate over faux-snuff’s content has predominantly focused on realism and affect. This paper seeks to offer an alternative interpretation, examining what faux-snuff’s form reveals about self. Faux-snuff is typically presented from a first-person perspective (killer-cam), and as such is foundationally invested in the killer’s experiences as they record their murder spree. First then, I propose that the simulated-snuff form reifies self-experience in numerous ways. Faux-snuff’s characteristic formal attributes capture the self’s limited, fractured qualities, for example. Second, I contend that (...)
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  31. O FANTASMA DE SALÒ: Pulsão Midiática No Último Filme de Pier Paolo Pasolini.Rafael Duarte Oliveira Venancio - 2016 - Passagens 7 (3).
    O presente artigo deseja entender como a lógica diegética de Salò, último filme de Pier Paolo Pasolini, engendra um fascismo pulsional. Isso é demonstrado a partir da lógica lacaniana do desejo centrado na figura conceitual do fantasma. Com a leitura sexual do conceito feita por Contardo Calligaris, o artigo mostra que o fascismo que Pasolini critica não precisa ser apenas o político, mas também pode ser posto em uma situação econômica tal como aquela que o capitalismo midiatizado coloca em movimento. (...)
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  32. (Re)Presentação Silenciada: Polêmicas Midiáticas E Sua Normalização Linguística.Rafael Duarte Oliveira Venancio - 2016 - Tropos 5 (2).
    O presente artigo busca investigar como certas produções midiáticas que, apesar da pretensa polêmica e campanha de (contra)estigmatização, não causaram o eco social pretendido. Usando o arcabouço teórico de Jean-François Lyotard, de inspiração wittgensteniana, iremos analisar três produções audiovisuais que entram nas características de nosso objeto: Torre de Babel, Garapa e Capitalismo: uma História de Amor. Observando como tais obras se relacionam com as questões de (re)presentações, saberes e apostas linguísticos, veremos como se operou o silenciamento da polêmica resultando em (...)
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  33. Gilles Deleuze: nel Fuori assoluto. [REVIEW]Fabio Vergine - 2016 - Consecutio Temporum 1.
    Discussione sul testo di Rocco Ronchi "Gilles Deleuze. Credere nel reale". Per un pensiero della temporalità della filosofia come Fuori assoluto.
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  34. Philosophy’s Artful Conversation, by D. N. Rodowick. [REVIEW]Timothy Yenter - 2016 - Teaching Philosophy 39 (4):565-567.
    Philosophy’s Artful Conversation draws on Gilles Deleuze, Stanley Cavell, and the later writing by Ludwig Wittgenstein to defend a “philosophy of the humanities.” Both because film studies is historically a site of contention and theoretical upheaval and because Rodowick accepts Cavell’s idea that (at least in the American context) film is philosophy made ordinary, bringing philosophical questions of skepticism and perfectionism into filmgoers’ lives inescapably, it makes sense to build this vision for the humanities out of writing on film. Although (...)
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  35. Love, Loss, and Identity in Solaris.Christopher Grau - 2014 - In Susan Wolf & Christopher Grau (eds.), Understanding Love: Philosophy, Film, and Fiction. Oxford University Press.
    The sci-fi premise of the 2002 film Solaris allows director Steven Soderbergh to tell a compelling and distinctly philosophical love story. The “visitors” that appear to the characters in the film present us with a vivid thought experiment, and the film naturally prods us to dwell on the following possibility: If confronted with a duplicate (or near duplicate) of someone you love, what would your response be? What should your response be? The tension raised by such a far-fetched situation reflects (...)
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  36. What's So Bad About Blackface?Christy Mag Uidhir - 2013 - In Dan Flory & Mary Bloodsworth-Lugo (eds.), Race, Philosophy, and Film. Routledge. pp. 51-68.
    I argue that what’s so bad (qua film fiction) about the cinematic practice of actor-character race-mismatching—be it the historically infamous and intuitively repugnant practice of blackface or one of its more contemporary kin—is that the extent to which film-fictions employ such practices is typically the extent to which such film-fictions unrealistically depict facts about race. More precisely, I claim that race-mismatching film fictions—understood as a species of unrealistic fiction—are prima facie inconsistent fictions with the capacity to mislead their audiences about (...)
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  37. Cinematic.Aaron Smuts - 2013 - Nordic Journal of Aesthetics 23 (46):78-95.
    Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We are (...)
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  38. Translations of Blind Perception in the Films Monika (2012) and Antoine (2008).Robert Stock & Beate Ochsner - 2013 - Invisible Culture (19).
    Against the backdrop of these works (Mitchell/Snyder and others), we propose an analysis of films with and about blind or visually disabled individuals that aims at exploring different modes of world perception. In our view, such an examination should not only discuss the question of “giving voice” and visibility to those who were formerly only represented in or by the media, or the fact that films belonging to what might be considered a “new disability documentary cinema” are dedicated to the (...)
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  39. Rooting for the Fascists in James Cameron’s Avatar.John Marmysz - 2012 - Film and Philosophy 16:101-120.
    Conservative critics have united in attacking James Cameron’s newest blockbuster Avatar for its “liberal” political message. But underneath all of the manifest liberalism of Avatar there is also a latent message. In his valorization of the organic, primal, interconnectedness of Na’vi culture and his denigration of the mechanical, modern, disconnectedness of human culture, Cameron runs very close to advocating a form of fascism. -/- In this paper I describe the overarching philosophical perspective of fascism, and then I draw on the (...)
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  40. Cinematic Realism Reconsidered.Rafe Mcgregor - 2012 - Polish Journal of Philosophy 6 (1):57-68.
    The purpose of this paper is to re-examine the debate about cinematic motion in terms of the necessity for reception conditions in art. I shall argue that Gregory Currie’s rejection of weak illusionism – the view that cinematic motion is illusory – is sound, because cinematic images really move, albeit in a response-dependent rather than garden-variety manner. In §1 I present Andrew Kania’s rigorous and compelling critique of Currie’s realism. I assess Trevor Ponech’s response to Kania in §2, and show (...)
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  41. Trajectos da memória e inscrição da identidade no filme Memento.Maria Irene Aparicio - 2011 - Trajectos, Revista de Comunicação, Cultura E Educação 18:99-112.
    Memória e identidade são conceitos frequentemente explorados por cineastas contemporâneos, nomeadamente Christopher Nolan em Memento (EUA, 2000), filme que nos propõe o tema desta reflexão. O nosso objectivo é compreender a forma como a obra entrelaça as temáticas em epígrafe, através de movimentos cruzados de criação e interpretação, recorrendo ao esboço de espaços de natureza diversa (e.g. imagéticos, diegéticos, plásticos, mnésicos, etc.) que interpelam continuamente o espectador. O filme configura o trajecto de múltiplas inscrições – da escrita da luz ao (...)
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  42. I Don't Know, Just Wait: Remembering Remarriage in Eternal Sunshine of the Spotless Mind.William Day - 2011 - In David LaRocca (ed.), The Philosophy of Charlie Kaufman. University Press of Kentucky.
    "In 'I Don't Know, Just Wait: Remembering Remarriage in Eternal Sunshine of the Spotless Mind', William Day shows how Kaufman's Eternal Sunshine of the Spotless Mind should be considered part of the film genre known as remarriage comedy; but he also shows how Kaufman contributes something new to the genre. Day addresses, in particular, how the conversation that is the condition for reunion involves discovering 'what it means to have memories together as a way of learning how to be together'. (...)
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  43. There is No 'I' in 'Robot': Robots and Utilitarianism (Expanded & Revised).Christopher Grau - 2011 - In Susan Anderson & Michael Anderson (eds.), Machine Ethics. Cambridge University Press. pp. 451.
    Utilizing the film I, Robot as a springboard, I here consider the feasibility of robot utilitarians, the moral responsibilities that come with the creation of ethical robots, and the possibility of distinct ethics for robot-robot interaction as opposed to robot-human interaction. (This is a revised and expanded version of an essay that originally appeared in IEEE: Intelligent Systems.).
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  44. Getting Carried Away: Evaluating the Emotional Influence of Fiction Film.Stacie Friend - 2010 - Midwest Studies in Philosophy 34 (1):77-105.
    It is widely taken for granted that fictions, including both literature and film,influence our attitudes toward real people, events, and situations. Philosopherswho defend claims about the cognitive value of fiction view this influence in apositive light, while others worry about the potential moral danger of fiction.Marketers hope that visual and aural references to their products in movies willhave an effect on people’s buying patterns. Psychologists study the persuasiveimpact of media. Educational books and films are created in the hopes of guidingchildren’s (...)
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  45. American History X, Cinematic Manipulation, and Moral Conversion.Christopher Grau - 2010 - Midwest Studies in Philosophy 34 (1):52-76.
    American History X (hereafter AHX) has been accused by numerous critics of a morally dangerous cinematic seduction: using stylish cinematography, editing, and sound, the film manipulates the viewer through glamorizing an immoral and hate-filled neo-nazi protagonist. In addition, there’s the disturbing fact that the film seems to accomplish this manipulation through methods commonly grouped under the category of “fascist aesthetics.” More specifically, AHX promotes its neo-nazi hero through the use of several filmic techniques made famous by Nazi propagandist Leni Riefenstahl. (...)
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  46. Mixed Feelings: Conflicts in Emotional Responses to Film.James Harold - 2010 - Midwest Studies in Philosophy 34 (1):280-294.
    Some films scare us; some make us cry; some thrill us. Some of the most interesting films, however, leave us suspended between feelings – both joyous and sad, or angry and serene. This paper attempts to explain how this can happen and why it is important. I look closely at one film that creates and exploits these conflicted responses. I argue that cases of conflict in film illuminate a pair of vexing questions about emotion in film: (1) To what extent (...)
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  47. Horror and the Idea of Everyday Life: On Skeptical Threats in Psycho and the Birds.Philip J. Nickel - 2010 - In Thomas Richard Fahy (ed.), The Philosophy of Horror. University Press of Kentucky. pp. 14--32.
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  48. Eternal Sunshine of the Spotless Mind and the Morality of Memory.Christopher Grau - 2006 - Journal of Aesthetics and Art Criticism 64 (1):119–133.
    In this essay I argue that the film Eternal Sunshine of the Spotless Mind eloquently and powerfully suggests a controversial philosophical position: that the harm caused by voluntary memory removal cannot be entirely understood in terms of harms that are consciously experienced. I explore this possibility through a discussion of the film that includes consideration of Nagel and Nozick on unexperienced harms, Kant on duties to oneself, and Murdoch on the requirements of morality.
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  49. Music in Narrative Film. On Motion and Stasis : Photography, "Moving Pictures," Music / David Neumeyer, Laura Neumeyer ; the Topos of "Evil Medieval" in American Horror Film Music / James Deaville ; la Leggenda Del Pianista Sull'oceano : Narration, Music, and Cinema / Rosa Stella Cassotti ; Music in Aki Kaurismäki's Film the Match Factory Girl / Erkki Pekkilä ; It's a Little Bit Funny : Moulin Rouge's Sparkling Postmodern Critique.Susan Ingram - 2006 - In Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.), Music, Meaning and Media. University of Helsinki.
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  50. Cultural Change and Nihilism in the Rollerball Films.John Marmysz - 2004 - Film and Philosophy 8:91-111.
    In 2002, a remake of the 1975 film Rollerball was released in theaters. It flopped at the box-office, disappearing quickly from movie screens and reappearing shortly thereafter on home video. While aesthetically horrendous, the remake of Rollerball is instructive, as it provides a point of contrast to the original film, highlighting a change in our culture’s manner of engagement with the difficult philosophical problem of nihilism. Both films share a roughly similar plot, yet in the differing manners that they explore (...)
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