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  1. added 2020-05-23
    Schefer, Jean-Louis. 2016. The Ordinary Man of Cinema. [REVIEW]Ekin Erkan - 2020 - Comparative Cinema 8 (14):82-85.
    Book review of Jean-Louis Schefer's The Ordinary Man of Cinema (2016) with particular attention to Schefer's conception of affect and its influence on Deleuze.
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  2. added 2019-09-29
    Cryptophasia and the Question of Database.Ekin Erkan - 2019 - Triple Ampersand:1-29.
    Over the last thirty years, once staunchly historical cinema scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, and André Gaudreault have abandoned history for historiography and film studies for media archaeology. With increasing attention on the “database” as a symbolic metaphor for postmodernity and the decentered, networked tenants of the global present, cinema is taking on the characteristics of new media, existing in intertextual space. Thus, the term “post-cinema” has been co-opted as a viable intermediary that accounts for new (...)
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  3. added 2019-08-23
    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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  4. added 2018-02-17
    Devices of Shock: Adorno's Aesthetics of Film and Fritz Lang's Fury.Ryan Drake - 2009 - Télos 2009 (149):151-168.
    Two critical yet comic elements, beyond the more obvious narrative of persecution, reveal themselves in Adorno's recorded nightmare. The first is comic because it so aptly displays his relentless critical impulse despite himself, the way in which theory invades the private sphere of his dreams: even in sleep, Adorno finds himself at once reading phenomena and on guard against a false transcendence from which they could, in the last instance, be deciphered.1 The second is more patently absurd, yet perhaps more (...)
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  5. added 2017-03-03
    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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  6. added 2015-11-26
    Merleau-Ponty and Carroll on the Power of Movies.B. Scot Rousse - 2016 - International Journal of Philosophical Studies 24 (1):45-73.
    Movies have a striking aesthetic power: they can draw us in and induce a peculiar mode of involvement in their images – they absorb us. While absorbed in a movie, we lose track both of the passage of time and of the fact that we are sitting in a dark room with other people watching the play of light upon a screen. What is the source of the power of movies? Noël Carroll, who cites Maurice Merleau-Ponty as an influence on (...)
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  7. added 2014-11-28
    The Myth of Scotland as Nowhere in Particular.John Marmysz - 2014 - International Journal of Scottish Theatre and Screen 7 (1):28-44.
    In a number of recent films, Scotland has served as the setting for dramas that could have taken place anywhere. This has occurred in two related ways: First, there are films such as Perfect Sense (2011) and Under the Skin (2013). These films involve storylines that, while they do take place in Scotland, do not require the country as a setting. Second, there are films such as Prometheus (2012),The Dark Knight Rises (2012), Cloud Atlas (2012), and World War Z (2013). (...)
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  8. added 2014-05-08
    Disciplinary Power and Testimonial Narrative in Schindler's List.Eugene Arva - 2004 - Film and Philosophy 8:51-62.
    Steven Spielberg‘s filmed representation of the Holocaust dares its viewers to experience, as secondary witnesses, atrocities committed by the Nazis in Poland. The film is yet another form of testimonial narrative (audio-visual but lacking a full historical context, except for a few on-screen titles) which aligns the survivors, who have come to be known as the Schindler Jews, and their descendants, on the one hand, and Spielberg‘s cameraman (comparable to an internalized narrator), Spielberg the film director (an external, omniscient narrator), (...)
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  9. added 2014-05-08
    Life as Show Time: Aesthetic Images and Ideological Spectacles.Eugene Arva - 2003 - Film and Philosophy 7:110-125.
    On September 11, 2001, many of us experienced life as what it is not: we lived an extreme instance of the spectacle, of the sublime outside the realm of ethics. Starting with a few compelling questions that the media representations of the attack on the New York World Trade Center inevitably raise, this paper explores a series of similarities, continuums, and extrapolations of the aesthetic in different types of discourse from Friedrich Schiller to Guy Debord. My assessment of the individual‘s (...)
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  10. added 2014-02-27
    Race and the Feminized Popular in Nietzsche and Beyond.Robin James - 2013 - Hypatia 28 (4):749-766.
    I distinguish between the nineteenth- to twentieth-century (modernist) tendency to rehabilitate (white) femininity from the abject popular, and the twentieth- to twenty-first-century (postmodernist) tendency to rehabilitate the popular from abject white femininity. Careful attention to the role of nineteenth-century racial politics in Nietzsche's Gay Science shows that his work uses racial nonwhiteness to counter the supposedly deleterious effects of (white) femininity (passivity, conformity, and so on). This move—using racial nonwhiteness to rescue pop culture from white femininity—is a common twentieth- and (...)
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