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  1. Modifications to Aristotle's Poetics.E. Garrett Ennis - manuscript
    Aristotle's Poetics has been the basis for theories of entertainment for over 2,000 years. But the general approach it uses has led to a number of gaps, contradictions, and difficulties in predicting the success of books, plays, movies, and entertainment as a whole, so much so that sayings like "there are no rules, but you break them at your peril," and "in Hollywood, nobody knows anything" have become widespread and accepted. -/- However, it turns out that a model of entertainment (...)
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  2. How Humor Works, Part II - Status Loss Theory as the Logical Basis of All Forms of Humor.Ernest Garrett - manuscript
    This paper takes the Status Loss Theory (introduced and explained in the first "How Humor Works" paper), and applies it to 40 real-world examples, including memes, radio and TV shows, movie and comic book tropes, song parodies, humor sayings, stand-up comedy cliches, known psychological quirks of humor, and more, to demonstrate the theory's potential to function as the first clear, complete, logical, and simple basis for defining, studying, and understanding humor in all of its forms.
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  3. "How Humor Works" Introduction - The "Holy Grail" Humor Theory in One Page.Ernest Garrett - manuscript
    This paper introduces the "Status Loss Theory of Humor," as detailed in "How Humor Works" and "How Humor Works, Part II" , in a single page. This theory has the potential to fully, clearly, and naturally explain the human humor instinct, and has made predictions that are being confirmed by other studies.
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  4. How Humor Works - A Clear Proposal For a Classic Question.Ernest Garrett - manuscript
    A short, clear and complete theory that explains the origins and properties of the human humor instinct, which has been the subject of incomplete research for thousands of years. The paper's theory uses evolutionary psychology and a basic informal equation, and unites the findings of the previous theories, including explaining the logical basis behind many types of humor as well as the common sayings associated with it.
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  5. Heterotopia of the Film Solaris Directed by Andrei Tarkovski.Nicolae Sfetcu - manuscript
    In Solaris, within the limits of heterotopic experience, several theoretical and ontological questions are examined through approaches on each character. Berton declares one of the main philosophical themes of the movie when he tells Kelvin: "You want to destroy that which we are presently incapable of understanding? Forgive me, but I am not an advocate of knowledge at any price. Knowledge is only valid when it's based on morality." The ocean does not mean anything as an object, it simply exists. (...)
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  6. La technique cinématographique d'Andreï Tarkovsky dans Solaris.Nicolae Sfetcu - manuscript
    Tarkovsky s’est opposé au montage et a considéré que la base de l’art cinématographique (l’art du film) est le rythme interne des images. Il a considèré le cinéma comme une représentation des courants distinctifs ou des ondes de temps, transmis dans le film par son rythme interne. Le rythme est au cœur du « film poétique ». Un rythme comme un mouvement dans le cadre (« la sculpture dans le temps »), pas comme une séquence d'images dans le temps. Le (...)
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  7. Solaris, Andrei Tarkovsky – Filosofia.Nicolae Sfetcu - manuscript
    Filmul Solaris (1972) al lui Andrei Tarkovski poate fi abordat prin prisma filosofiei minții, a întrebărilor esențiale în acest domeniu. Aceste întrebări se referă la personalitate și suferință, care acoperă cel puțin perioada de la Rene Descartes la filosofii moderni, precum Derek Parfit și Hilary Putnam. Solaris apare ca un vehicul adecvat pentru a explora provocările filosofice. De altfel, filmul Solaris al lui Tarkovsky permite multiple interpretări semantice. În același timp, Solaris prezintă un exemplu excelent despre modul în care spațiile (...)
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  8. Nihilism and Reality in Akira Kurosawa's Rashomon (1949 Movie).Marcos Wagner Da Cunha - manuscript
    This essay is part of a doctoral dissertation presented to the Department of Philosophy, University of São Paulo, in 1993, named 'Genealogy of the Real' . Its core idea is a Nietzschean approach to a masterpiece among philosophical inspired movies, namely, Akira Kurosawa's Rashomon, which surely touches deep groundings of the concept of truth and reality.
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  9. “A Form of Socially Acceptable Insanity”: Love, Comedy and the Digital in Her.Jack Black - 2021 - Psychoanalysis, Culture and Society 26 (1):25-45.
    In Spike Jonze’s Her (2013), we watch the film’s protagonist, Theodore, as he struggles with the end of his marriage and a growing attachment to his artificially intelligent operating system, Samantha. While the film remains unique in its ability to cinematically portray the Lacanian contention that “there is no sexual relationship,” this article explores how our digital non-relationships can be re-approached through the medium of comedy. Specifically, when looked at through a comic lens, notable scenes from Her are examined for (...)
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  10. Minding the Future: Artificial Intelligence, Philosophical Visions and Science Fiction.Barry Francis Dainton, Will Slocombe & Attila Tanyi (eds.) - 2021 - Springer.
    Bringing together literary scholars, computer scientists, ethicists, philosophers of mind, and scholars from affiliated disciplines, this collection of essays offers important and timely insights into the pasts, presents, and, above all, possible futures of Artificial Intelligence. This book covers topics such as ethics and morality, identity and selfhood, and broader issues about AI, addressing questions about the individual, social, and existential impacts of such technologies. Through the works of science fiction authors such as Isaac Asimov, Stanislaw Lem, Ann Leckie, Iain (...)
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  11. I Am Legend as Philosophy: Imagination in Times of Pandemic... A Mutation Towards a "Second Reality"?Rachad Elidrissi - 2021 - Journal of Science Fiction and Philosophy 4.
    A planetary panic and almost deserted cities, fear of food shortages, and the growing threat of an invisible virus that does more damage day by day. In the time of the COVID-19 pandemic, many believe that science fiction has now been overtaken by reality. In these times of adversity, what does it take to survive when the world comes crashing down? How do humans stay resilient, manage their growing stress, and somehow navigate through the crisis? More specifically, how do humans (...)
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  12. Learning From COVID-19: Virtue Ethics, Pandemics and Environmental Degradation: A Case Study Reading of The Andromeda Strain (1971) and Contagion (2011).Fiachra O'Brolcháin & Pat Brereton - 2021 - Journal of Science Fiction and Philosophy 4.
    This paper uses virtue ethics to discuss the COVID-19 outbreak, Hollywood science-fiction/pandemic films, and the environmental crisis. We outline the ideas of hubris and nemesis and argue that responding to the COVID-19 pandemic requires that we develop virtues. We will explore these ethical issues through an eco-reading (Hiltner 2018) of two popular films cinematic representation of pandemics, The Andromeda Strain (1971) and Contagion (2011). Fictional narratives are particularly adept at celebrating the moral and intellectual virtues of individuals (as is standard (...)
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  13. Planet of the Apes and Philosophy: Great Apes Think Alike (Open Court, 2013). [REVIEW]Stephano Bigliardi - 2020 - Journal of Science Fiction and Philosophy 3:1-10.
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  14. Wombs, Wizards, and Wisdom: Bilbo's Journey From Childhood in The Hobbit.Rory W. Collins - 2020 - Crossing Borders: A Multidisciplinary Journal of Undergraduate Scholarship 4.
    In The Hobbit, J. R. R. Tolkien constructs middle-aged Bilbo Baggins as a sheltered and emotionally immature ‘child’ during the opening chapters before tracing his development into an autonomous, self-aware adult as the tale progresses. This article examines Tolkien’s novel qua bildungsroman through both a literary lens—considering setting, dialogue, and symbolism, among other techniques—and via a psychological framework, emphasizing an Eriksonian conception of development. Additionally, Peter Jackson’s three-part film adaptation of The Hobbit is discussed throughout with ways that Jackson succeeds (...)
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  15. 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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  16. Arts Entrepreneurship Through Strategic Collaboration in Korean Classical Music.Jieun Park & Joanne Bernstein - 2020 - Journal of Arts and Humanities 9 (8).
    Arts Entrepreneurship is a comparatively new concept in arts management however, it is inevitable for the arts, especially classical music to adapt the concept for its survival. This article investigates how arts entrepreneurship is executed through strategic collaboration in three different cases of classical music organizations in Seoul, Korea: Yellow Lounge Seoul, Ensemble Ditto and The New Baroque Company. By providing vivid examples of how to apply arts entrepreneurship in classical music products, it will better help to understand the concept. (...)
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  17. Ἐγώ εἰμι.Andrej Poleev - 2020 - Enzymes 18.
    Появление человека, говорящего о себе Ἐγώ εἰμι, люди воспринимают в той же логике абсурда, к которой они привыкли. То, что кто-то может не играть и не носить маску, а реально быть, жить настоящей, а не выдуманной жизнью, для них немыслимо, невозможно, невыносимо и недопустимо. Но такой человек был, есть, и будет, и именно он преображает всё остальное человечество своим Ἐγώ εἰμι.
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  18. Development of Historical and Cultural Tourist Destinations.Sergii Sardak, Oleksandr P. Krupskyi, V. Dzhyndzhoian, M. Sardak & Y. Naboka - 2020 - Journal of Geology, Geography and Geoecology 29 (2):406-414.
    The aim of the study is to develop theoretic and methodological recommendations and practical activities for the positive social, managerial, organizational and economic development of historical and cultural tourist destinations. In theoretical terms: the role of historical and cultural tourist destination in the development of the region has been established; the historical and cultural tourist destinations have been identified; the author’s classification of historical and cultural tourist destinations has been developed basing tourist visiting activeness; the author’s methodological approach to the (...)
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  19. Ist JK Rowling böser als Ich? (überarbeitet 2019).Michael Richard Starks - 2020 - In Willkommen in der Hölle auf Erden: Babys, Klimawandel, Bitcoin, Kartelle, China, Demokratie, Vielfalt, Dysgenie, Gleichheit, Hacker, Menschenrechte, Islam, Liberalismus, Wohlstand, Internet, Chaos, Hunger, Krankheit, Gewalt, Künstliche Intelligenz, Krieg. Las Vegas, NV, USA: Reality Press. pp. 248-252.
    Wie wäre es mit einer anderen Ausg. der Reichen und Berühmten? Zuerst das Offensichtliche – die Harry-Potter-Romane sind primitiver Aberglaube, der Kinder dazu ermutigt, an Fantasie zu glauben, anstatt Verantwortung für die Welt zu übernehmen – natürlich die Norm. JKR ist genauso ahnungslos über sich und die Welt wie die meisten Menschen,aber etwa 200 Mal so destruktiv wie der durchschnittliche Amerikaner und etwa 800 Mal mehr als der durchschnittliche Chinese. Sie war verantwortlich für die Zerstörung von vielleicht 30.000 Hektar Wald, (...)
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  20. الجذور الأنثربولوجية للقيم الجمالية المغربية ومظاهر انعكاسها في السينما.حمزة الأندلوسي - 2020 - مجلة الدراسات الثقافية واللغوية والفنية 3 (12):198-217.
    تندرج هذه الدراسة ضمن مبحث أنثروبولوجيا الصورة، وتستهدف الحفر في الجذور الثقافية المُشكلة لجماليات التعبير الفني في المغرب مع التركيز على فن مخصوص هو السينما. في ذات السياق، سنعمل على تتبع السيرورة التاريخية للتفاعل الثقافي الذي شهده المجتمع المغربي، وذلك عبر تسليط الضوء على خصائص الموارد المختلفة التي نَهَلَ منها التعبير الفني، ونقصد هنا الإشارة إلى تفاعل الموارد الآتية وتلاقحها: المورد العربي-الإسلامي والمورد الأمازيغي والمورد المتوسطي والمورد الإفريقي-صحراوي؛ أما الجزء الثاني من الدراسة فيقتصر على تحليل الأساليب الفنية المُعتمدة في عدد (...)
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  21. “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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  22. THE WORLD AS AN ASYLUM: BETWEEN CELEBRITIES AND MEDICINE.Gustavo Ruiz da Silva - 2019 - Occursus 1 (4):278-288.
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  23. Being Together, Worlds Apart: A Virtual-Worldly Phenomenology.Rebecca A. Hardesty & Ben Sheredos - 2019 - Human Studies (3):1-28.
    Previous work in Game Studies has centered on several loci of investigation in seeking to understand virtual gameworlds. First, researchers have scrutinized the concept of the virtual world itself and how it relates to the idea of “the magic circle”. Second, the field has outlined various forms of experienced “presence”. Third, scholarship has noted that the boundaries between the world of everyday life and virtual worlds are porous, and that this fosters a multiplicity of identities as players identify both with (...)
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  24. Introducing Cinematic Humanism: A Solution to the Problem of Cinematic Cognitivism.Britt Harrison - 2019 - Croatian Journal of Philosophy 19 (2):331-349.
    A Cinematic Humanist approach to film is committed inter alia to the following tenet: Some fiction films illuminate the human condition thereby enriching our understanding of ourselves, each other and our world. As such, Cinematic Humanism might reasonably be regarded as an example of what one might call ‘Cinematic Cognitivism’. This assumption would, however, be mistaken. For Cinematic Humanism is an alternative, indeed a corrective, to Cinematic Cognitivism. Motivating the need for such a corrective is a genuine scepticism about the (...)
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  25. 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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  26. HBO's 'The Price of Everything' (2018): A Documentary by Nathaniel Kahn.Jakob Zaaiman - 2019
    Detailed review of the 2018 film. This article is concerned to define contemporary art such that the machinations of the current art market - as portrayed in the film - make sense. The central idea is that the best of contemporary art is narrative rather than merely aesthetic; and a failure to understand this leads to the confusion that currently characterizes judgements about modern artworks.
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  27. المدينة المغربية من خلال الفيلم الأجنبي: طنجة نموذجا، عمان: دار زهدي للنشر والتوزيع، 2019، 207 ص.حمزة الأندلوسي - 2019
    نسعى من خلال هذا الكتاب إلى دراسة تمثلات المخرجين الأجانب للمدينة المغربية باعتبارها نموذجا للفضاء الحضري الغريب عنهم، وذلك عبر تحليل مضمون أفلامهم التي دارت كل أحداثها أو بعض منها في مدينة طنجة -نموذج الدراسة-. أما دافعنا فيتجلى أولا في تقديم قراءة أنثربولوجية للعمل الفني تأتي في ظل الفقر البَيّن الذي يعتري المكتبة المغربية الأنثربولوجية والسوسيولوجية في هذا المجال؛ كما أننا نسعى ثانيا إلى بَلورة نص علمي ينبني في أسسه على النظريات الاستطيقية الكلاسيكية التي يستعين بها نقاد السينما عادة في (...)
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  28. The Years of Permanent Midnight: The Liberalist Construction of the Philippine Nation in Cinema Under the US-Aquino Administration.Jeffrey Deyto - 2018 - Mabini Review 7:128-165.
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  29. Jones, S. (2018) 'Preserved for Posterity? Present Bias and the Status of Grindhouse Films in the " Home Cinema " Era', Journal of Film and Video, 70:1.Steve Jones - 2018 - Journal of Film and Video 70 (1).
    Despite the closure of virtually all original grindhouse cinemas, ‘grindhouse’ lives on as a conceptual term. This article contends that the prevailing conceptualization of ‘grindhouse’ is problematized by a widening gap between the original grindhouse context (‘past’) and the DVD/home-viewing context (present). Despite fans’ and filmmakers’ desire to preserve this part of exploitation cinema history, the world of the grindhouse is now little more than a blurry set of tall-tales and faded phenomenal experiences, which are subject to present-bias. The continuing (...)
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  30. Sex and Horror.Steve Jones - 2018 - In Feona Attwood, Clarissa Smith & Brian McNair (eds.), The Routledge Companion to Media, Sex and Sexuality. New York: Routledge. pp. 290-299.
    The combination of sex and horror may be disquieting to many, but the two are natural (if perhaps gruesome) bedfellows. In fact, sex and horror coincide with such regularity in contemporary horror fiction that the two concepts appear to be at least partially intertwined. The sex–horror relationship is sometimes connotative rather than overt; examples of this relationship range from the seduction overtones of 'Nosferatu' and the juxtaposition of nudity and horror promised by European exploitation filmmakers to the sadomasochistic iconography of (...)
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  31. The Tannhäuser Gate. Architecture in Science Fiction Films of the Second Half of the 20th and the Beginning of the 21st Century as a Component of Utopian and Dystopian Projections of the Future.Cezary Wąs - 2018 - Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego 49 (3):83-109.
    The Tannhäuser Gate. Architecture in science fiction films of the second half of the 20th and the beginning of the 21st century as a component of utopian and dystopian projections of the future. -/- The films of science fiction genre from the second half of the 20th and early 21st century contained many visions of the future, which were at the same time a reflection on the achievements and deficiencies of modern times. In 1960s, cinematographic works were dominated by optimism (...)
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  32. Selling Genocide II: The Later Films.Gary James Jason - 2017 - Reason Papers 39 (1):97-123.
    In this essay I take up the later major anti-Semitic propaganda pieces, all of them released in 1940. They were produced under Goebbels explicit orders to each of the three Nazi-controlled studios to produce an anti-Semitic film. The three films produced were: The Rothschilds Share at Waterloo; Jud Suss; and The Eternal Jew. These films were much more powerful propaganda pieces in intensifying anti-Semitic feelings—those feelings of difference, disgust, and danger. For each film, I point to the scenes that arouse (...)
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  33. Book Review Of: Karen Liebreich, The Black Page: Interviews with Nazi Filmmakers. [REVIEW]Gary James Jason - 2017 - Reason Papers 39 (2):pp. 105-107.
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  34. 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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  35. A Blast From The Past.Kristie Miller - 2017 - The Philosophers' Magazine 77:82-86.
    That we find the idea of travelling in time, and in particular travelling backwards in time, fascinating, is evidenced by the plethora of new science fictions shows depicting time travel that hit our TV screens in 2016. I love time travel shows, and I can hardly keep up. In almost all cases these shows depict what philosophers call inconsistent time travel stories: stories that commit what my colleague Nick Smith (The University of Sydney) calls the second time around fallacy. These (...)
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  36. Memahami Cara Kerja Pragmatisme dalam Pendidikan: Refleksi Kritis atas Film Laskar Pelangi.Moch Najib Yuliantoro - 2017 - Jurnal Filsafat (2):193-212.
    This paper aims to understand the Pragmatism way of thinking in the practice of education. As a case study, Riri Reza's Laskar Pelangi is used to find out how Pragmatism practices in education in Indonesia. By using descriptive-critical method of interpretation and interpretation, it is revealed that the main characters in the film Laskar Pelangi experience a dilemma situation that leads them to choose a way of life based on internal logic and actual experience. As for the criticisms, as well (...)
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  37. A Question of Listening: Nancean Resonance, Return and Relation in Charlie Chaplin.Carrie Giunta - 2016 - In Carrie Giunta & Adrienne Janus (eds.), Nancy and Visual Culture. Edinburgh University Press.
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  38. Nigerian Film Industry in the Mirror of African Movie Academy Awards (AMAA).Stanislaus Iyorza - 2016 - Journal of Arts and Humanities 5 (9).
    Worried by the drastic decline in the quality of content of Nigerian movies as evaluated by critics, this paper analyzes the evaluation of Nigerian movies by the African Movie Academy Awards (AMAA) between 2006 and 2016. The objective is to review the decisions of the AMAA jury and to present the academy’s position on the prospects and deficiencies of the Nigerian Movie industry. The paper employs analytical research approach using both primary and secondary sources to explore assessed contents of the (...)
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  39. Memorializing Genocide I: Earlier Holocaust Documentaries.Jason Gary James - 2016 - Reason Papers 38 (2):64-88.
    In this essay, I discuss in detail two of the earliest such documentaries: Death Mills (1945), directed by Billy Wilder; and Nazi Concentration Camps (1945), directed by George Stevens. Both film-makers were able to get direct footage of the newly-liberated concentration camps from the U.S. Army. Wilder served as a Colonel in the U.S. Army’s Psychological Warfare department in 1945 and was tasked with producing a documentary on the death camps as well as helping to restart Germany’s film industry. I (...)
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  40. Movie Review Of: The Man Who Knew Infinity.Gary James Jason - 2016 - Liberty 6.
    This is a review of the biopic of the great mathematician Ramanujan, 'The Man Who Knew Infinity'(2016).
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  41. Recovering Lost Moral Ground: Can Walt Make Amends?James Mahon & Joseph Mahon - 2016 - In Kevin Decker, David Koepsell & Robert Arp (eds.), Philosophy and Breaking Bad. New York, USA: Palgrave Macmillan. pp. 143-160.
    Is it possible to recover lost moral ground? In the closing episodes of the TV show "Breaking Bad", it becomes clear that the protagonist, Walter White, believes that the correct answer to this question is an affirmative one. Walt believes that he can, and that he has, recovered lost moral ground. "Breaking Bad" may be said to explore two distinct and incompatible ways of attempting to recover lost moral ground. The first way is revisionist. This is to rewrite the script (...)
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  42. Abstrakt - Affektiv - Multimodal. Zur Verarbeitung von Bewegtbildern Im Anschluss an Cassirer, Langer Und Krois.Martina Sauer - 2016 - In Lars Christian Grabbe, Patrick Rupert-Kruse & Norbert M. Schmitz (eds.), Bildkörper. Zum Verhältnis von Bildtechnologien und Embodiment. Kiel, Germany: Büchner-Verlag. pp. 46-71.
    Is it true that there is an analogy between modes of creation and such of perception? Respective to the cultural anthropological research of Ernst Cassirer, Susanne K. Langer and John M. Krois and by the analysis of a tape of the Swiss video-artist Pipilotti Rist this initial thesis of Formal Aesthetics shall be supported. - I - -/- Lässt sich die Behauptung stützen, dass zwischen Gestaltungsweisen und Wahrnehmungsweisen eine Analogie besteht? Aufbauend auf den kulturanthropologischen Forschungen von Ernst Cassirer, Susanne K. (...)
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  43. Interrogating the Indifferences in the Application of Statistical Techniques in Theatre Scholarship.Charles Ukim Adora & Nancy Ernest Irek - 2015 - Nduñòde 15 (1).
    nature as well as an inevitable, and useful academic exercise. However, there exist controversies in the use of statistical techniques in the conduct and writing of research in theatre scholarship. Some theatre scholars frown at its usage while others see it as a veritable tool in conducting investigation to solve identifiable problems in theatre and its allied fields. In the midst of these controversies, this study seeks to address the imbalances by examining the appropriateness in the use of statistical techniques (...)
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  44. Portraits of Egoism in Classic Cinema III: Nietzschean Portrayals.Gary James Jason - 2015 - Reason Papers 37 (2).
    In this essay, I look at two films as possible exemplars of the Nietzschean view of egoism. Compulsion is based on the infamous 1924 Leopold and Loeb murder case. In the movie, two arrogant young men—one of whom admires Nietzsche and preaches the (apparently Nietzschean) view that the strong and superior don’t need to follow conventional morality—kill a boy to prove they can outsmart the unter-menschen police. For a different take on what Nietzsche may have had in mind as “the (...)
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  45. Torture Born: Representing Pregnancy and Abortion in Contemporary Survival-Horror.Steve Jones - 2015 - Sexuality and Culture 19 (3):426-443.
    In proportion to the increased emphasis placed on abortion in partisan political debate since the early 2000s, there has been a noticeable upsurge in cultural representations of abortion. This article charts ways in which that increase manifests in contemporary survival-horror. This article contends that numerous contemporary survival-horror films foreground pregnancy. These representations of pregnancy reify the pressures that moralistic, partisan political campaigning places on individuals who consider terminating a pregnancy. These films contribute to public discourse by engaging with abortion as (...)
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  46. Torture Pornopticon: (In)Security Cameras, Self-Governance and Autonomy.Steve Jones - 2015 - In Linnie Blake & Xavier Aldana Reyes (eds.), Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon. I.B. Tauris. pp. 29-41.
    ‘Torture porn’ films centre on themes of abduction, imprisonment and suffering. Within the subgenre, protagonists are typically placed under relentless surveillance by their captors. CCTV features in more than 45 contemporary torture-themed films (including Captivity, Hunger, and Torture Room). Security cameras signify a bridging point between the captors’ ability to observe and to control their prey. Founded on power-imbalance, torture porn’s prison-spaces are panoptical. Despite failing to encapsulate contemporary surveillance’s complexities (see Haggerty, 2011), the panopticon remains a dominant paradigm within (...)
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  47. At Home in and Beyond Our Skin: Posthuman Embodiment in Film and Television.Joel Krueger - 2015 - In Hauskeller Michael, Carbonell Curtis D. & Philbeck Thomas D. (eds.), Handbook of Posthumanism in Film and Television. Palgrave-Macmillan. pp. 172-181.
    Film and television portrayals of posthuman cyborgs melding biology and technology, simultaneously “animal and machine” abound. Most of us immediately think of iconic characters like Arnold Schwarzenegger’s relentless cyborg assassin in the Terminator series or Peter Weller’s crime-fighting cyborg police officer in Robocop (1987). Or perhaps we recall the many cyborgs populating the Dr. Who, Star Trek, and Star Wars television series and films—including Darth Vader, surely the most famous cinematic cyborg of all time. But lesser-known explorations of cybernetic embodiment (...)
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  48. Classic Media Review of Hedwig and the Angry Inch. [REVIEW]Shelley M. Park - 2015 - Queer Studies in Media and Popular Culture 1 (1):125-28.
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  49. 2. Wildgen, Wolfgang, 2015a. Dynamique narrative du texte, du film et de la musique.Wolfgang Wildgen - 2015 - , In: Cahiers de Narratologie. Analyses Et Théories Narratives, 28 (Numéro: Le Récit Comme Acte Cognitif). Link : Http://Narratologie.Revues.Org/7243 28.
    Narrativity is basically linked to the dynamics of the events and actions which are told and it depends on the pragmatic context, mainly on the narrator and his audience, i.e. on the discursive setting. These dynamics ask for an adequate theoretical frame, e.g. in the format of dynamical system theory or vector analysis. Furthermore, narrativity can be manifested in different modalities. We shall present some specimens of analysis in the linguistic modality (spontaneous oral tales, folktales), in the visual modality (painting (...)
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  50. Pretty, Dead: Sociosexuality, Rationality and the Transition Into Zom-Being.Steve Jones - 2014 - In Steve Jones & Shaka McGlotten (eds.), Zombies and Sexuality: Essays on Desire and the Living Dead. McFarland. pp. 180-198.
    The undead have been evoked in philosophical hypotheses regarding consciousness, but such discussions often come across as abstract academic exercises, inapplicable to personal experience. Movie zombies illuminate these somewhat opaque philosophical debates via storytelling devices – narrative, characterization, dialogue and so forth – which approach experience and consciousness in an instinctively accessible manner. This chapter focuses on a particular strand of the subgenre: transition narratives, in which human protagonists gradually turn into zombies. Transition stories typically centralize social relationships; affiliations and (...)
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