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  1. Categorizing Art.Kiyohiro Sen - 2024 - Dissertation, University of Tokyo
    This dissertation examines the practice of categorizing works of art and its relationship to art criticism. How a work of art is categorized influences how it is appreciated and criticized. Being frightening is a merit for horror, but a demerit for lullabies. The brushstrokes in Monet's "Impression, Sunrise" (1874) look crude when seen as a Neoclassical painting, but graceful when seen as an Impressionist painting. Many of the judgments we make about artworks are category-dependent in this way, but previous research (...)
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Horror Film
  1. Stereotyp ohně V gotickém hororu 60. let.Elian Poslední - manuscript
    V této práci se zaměřím na stereotypy ve filmovém gotickém hororu 60. let, jejich symboliku a možné filosofické souvislosti.
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  2. Interpretace scénáře filmu Dvě tváře Dr. Jekylla v kontextu díla F. Nietzcheho.Elian Poslední - manuscript
    Film Two Faces of Dr. Jekyll (1960, režie Terrence Fisher) by se dal interpretovat skrze dílo F. Nietzscheho. -/- Při interpretaci vycházím především z díla „Mimo dobro a zlo”, dále pak z děl „Tak pravil Zarathustra" a „Vůle k moci”. -/- V tomto filmu nevystupuje Dr. Jekyll jako ztělesnění dobra, jak tomu bylo v předloze, nýbrž jako obraz samotného Nietzscheho, člověka zapáleného pro hledání vyššího bytí, pro hledání nadčlověka. Člověka odsouzeného ke zkáze. -/- Jekyllova nevyrovnanost, vášeň a touha po nadčlověku (...)
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  3. Appealing, Appalling: Morality and Revenge in I Spit on Your Grave (2010).Steve Jones - 2022 - Quarterly Review of Film and Video:1-25.
    Despite being a prevalent theme in popular cinema, revenge has received little dedicated attention within film studies. The majority of research concerning the concept of revenge is located within moral philosophy, but that body of literature has been overlooked by film studies scholars. Philosophers routinely draw on filmic examples to illustrate their discussions of revenge, but those interpretations are commonly hindered by their authors’ inexperience with film studies’ analytical methods. This article seeks to bridge those gaps. The 2010 remake of (...)
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  4. The Affective Nature of Horror.Filippo Contesi - 2022 - In Max Ryynänen, Heidi Kosonen & Susanne Ylönen (eds.), Cultural Approaches to Disgust and the Visceral. Routledge. pp. 31-43.
    The horror genre (in film, literature etc.) has, for its seemingly paradoxical aesthetic appeal, been the subject of much debate in contemporary, analytic philosophy of art. At the same time, however, the nature of horror as an affective phenomenon has been largely neglected by both aestheticians and philosophers of mind. The standard view of the affective nature of horror in contemporary philosophy follows Noël Carroll in holding that horror in art (or “art-horror”) is an emotion resulting from the combination of (...)
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  5. (4 other versions)A View to a Kill: Perspectives on Faux-Snuff and Self.Steve Jones - 2016 - In Neil Jackson, Shaun Kimber, Johnny Walker & Thomas Joseph Watson (eds.), Snuff: Real Death and Screen Media. Bloomsbury Academic.
    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, 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 the (...)
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  6. Carroll on the Emotion of Horror.Filippo Contesi - 2020 - Projections: The Journal for Movies and Mind 14 (3):47-54.
    Noël Carroll’s influence on the contemporary debate on the horror genre is hard to overestimate. His work on the topic is often celebrated as one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. It has provided the foundations for the contemporary study of horror in art. Yet, for all the critical attention that his views on horror have attracted over the years, little scrutiny has been given to the nature itself of the emotion of (...)
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  7. Barbarous Spectacle and General Massacre: A Defence of Gory Fictions.Ian Stoner - 2020 - Journal of Applied Philosophy 37 (4):511-527.
    Many people suspect it is morally wrong to watch the graphically violent horror films colloquially known as gorefests. A prominent argument vindicating this suspicion is the Argument from Reactive Attitudes (ARA). The ARA holds that we have a duty to maintain a well-functioning moral psychology, and watching gorefests violates that duty by threatening damage to our appropriate reactive attitudes. But I argue that the ARA is probably unsound. Depictions of suffering and death in other genres typically do no damage to (...)
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  8. Spierig Brothers' Jigsaw (2017) - Torture Porn Rebooted?Steve Jones - 2019 - In Simon Bacon (ed.), Horror: A Companion. Peter Lang. pp. 85-92.
    After a seven-year hiatus, the Saw franchise returned. Critics overwhelming disapproved of the franchise’s reinvigoration, and much of that dissention centred around a label that is synonymous with Saw: ‘torture porn’. Numerous critics pegged the original Saw (2004) as torture porn’s prototype. Accordingly, critics characterised Jigsaw’s release as heralding an unwelcome ‘torture porn comeback’. This chapter investigates the legitimacy of this concern in order to determine what ‘torture porn’ is and means in the Jigsaw era.
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  9. Cartesianism and Intersubjectivity in Paranormal Activity and the Philosophy of Mind.Steve Jones - 2017 - Film-Philosophy 21 (1):1-19.
    Over the last century within the philosophy of mind, the intersubjective model of self has gained traction as a viable alternative to the oft-criticised Cartesian solipsistic paradigm. These two models are presented as incompatible inasmuch as Cartesians perceive other minds as “a problem” for the self, while intersubjectivists insist that sociality is foundational to selfhood. This essay uses the Paranormal Activity series (2007–2015) to explore this philosophical debate. It is argued that these films simultaneously evoke Cartesian premises (via found-footage camerawork), (...)
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  10. (4 other versions)A View to a Kill: Perspectives on Faux-Snuff and Self.Steve Jones - 2016 - In Neil Jackson, Shaun Kimber, Johnny Walker & Thomas Joseph 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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  11. (4 other versions)A View to a Kill: Perspectives on Faux-Snuff and Self.Steve Jones - 2016 - In Neil Jackson, Shaun Kimber, Johnny Walker & Thomas Joseph 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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  12. (4 other versions)A View to a Kill: Perspectives on Faux-Snuff and Self.Steve Jones - 2016 - In Neil Jackson, Shaun Kimber, Johnny Walker & Thomas Joseph Watson (eds.), Snuff: Real Death and Screen Media. Bloomsbury Academic. pp. 277-292.
    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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  13. "Monsters on the Brain: An Evolutionary Epistemology of Horror".Stephen Asma - 2014 - Social Research: An International Quarterly (N.4).
    The article discusses the evolutionary development of horror and fear in animals and humans, including in regard to cognition and physiological aspects of the brain. An overview of the social aspects of emotions, including the role that emotions play in interpersonal relations and the role that empathy plays in humans' ethics, is provided. An overview of the psychological aspects of monsters, including humans' simultaneous repulsion and interest in horror films that depict monsters, is also provided.
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  14. Horrorporn/Pornhorror: The Problematic Communities and Contexts of Extreme Online Imagery.Steve Jones - 2010 - In Feona Attwood (ed.), Porn.com: Making Sense of Online Pornography. Peter Lang. pp. 123-137.
    This chapter explores the tentative line between erotic spectacle and horror; a judgement that is problematic given that is based on an axis of moral or ideological normality. The contexts of viewing impact on the status of ‘obscene’ images, both in terms of the communities that view them and their motivation for viewing; for sexual arousal, out of morbid curiosity or malevolence, or perhaps all three simultaneously. The reception of an obscene image is largely based upon the issue of viewer (...)
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  15. Porn of the Dead: Necrophilia, Feminism, and Gendering the Undead.Steve Jones - 2011 - In Christopher M. Moreman & Cory James Rushton (eds.), Zombies Are Us: Essays on the Humanity of the Walking Dead. McFarland. pp. 40-60.
    Erotic Nights of the Living Dead (1980) may have featured both animated corpses and hardcore sex scenes, but only recently have Re-Penetrator (2004) and Porn of the Dead (2006) managed to fully eroticise the living dead, allowing these creatures to engage in intercourse. In doing so, the usually a-subjective zombie is allotted a key facet of identity - sexuality. This development within the sub-genre needs accounting for outside of the contexts of porn studies, where it has only been briefly touched (...)
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  16. The Lexicon of Offense: The Meanings of Torture, Porn, and ‘Torture Porn”.Steve Jones - 2012 - In Feona Attwood, Ian Hunter, Vincent Campbell & Sharon Lockyear (eds.), Controversial Images: Media Representations on the Edge. Palgrave-Macmillan. pp. 186-200.
    Torture porn has been vilified on grounds that are at best unconvincing and at worst incoherent. The subgenre’s remonstrators too often ignore the content of the films themselves, and fail to make sufficiently detailed connections between the subgenre and the cultural sphere. Reactions to torture porn rarely consider what values the films apparently contravene, and why, if the films are offensive, they are simultaneously so popular. The central derisive mechanism in operation is the ill-conceived combination of ‘torture’ and ‘porn’ itself. (...)
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  17. XXXombies: Economies of Desire and Disgust.Steve Jones - 2013
    Drawing on the well-established understanding of the zombie as metaphor for the deadening effects of consumer capitalism, this chapter seeks to account for three distinct changes that contextualise 21st century zombie fiction. The first is situational: the global economic crisis has amplified the anxieties that inspired Romero's critique of consumer capitalism in Dawn of the Dead (1978). The second is intellectual: as Chapman and Anderson (2011) note, there has been an “explosion of research on all aspects of disgust” in recent (...)
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  18. 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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  19. Gender Monstrosity: Deadgirl and the Sexual Politics of Zombie-Rape.Steve Jones - 2012 - Feminist Media Studies 13 (4):525-539.
    Deadgirl (2008) is based around a group of male teens discovering and claiming ownership of a bound female zombie, using her as a sex slave. This narrative premise raises numerous tensions that are particularly amplified by using a zombie as the film's central victim. The Deadgirl is sexually passive yet monstrous, reifying the horrors associated with the female body in patriarchal discourses. She is objectified on the basis of her gender, and this has led many reviewers to dismiss the film (...)
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  20. No Pain, No Gain: Strategic Repulsion and The Human Centipede.Steve Jones - 2013 - Cine-Excess E-Journal 1 (1).
    Tom Six’s The Human Centipede (First Sequence) (2009) and The Human Centipede II (Full Sequence) (2011) are based on a disturbing premise: people are abducted and stitched together mouth-to-anus. The consequent combinations of faeces and bloodshed, torture and degradation have been roundly vilified by the critical press. Additionally, the sequel was officially banned or heavily censored in numerous countries. This article argues that these reactive forms of suppression fail to engage with the films themselves, or the concepts (such as disgust (...)
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  21. 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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  22. ""Hard Times and Rough Rides: The Legal and Ethical Impossibilities of Researching "'Shock"'Pornographies.Steve Jones & Sharif Mowlabocus - 2009 - Sexualities 12 (5):613--628.
    This article explores the various ethical and legal limitations faced by researchers studying extreme or ‘ shock’ pornographies, beginning with generic and disciplinary contexts, and focusing specifically upon the assumption that textual analysis unproblematically justifies certain pornographies, while legal contexts utilize a prohibitive gaze. Are our academic freedoms of speech endangered by legislations that restrict our access to non-mainstream images, forcing them further into taboo locales? If so, is the ideological normalization of sexuality inextricable from our research methodologies? Simultaneously, can (...)
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  23. (1 other version)Explanations: Aesthetic and Scientific.Shen-yi Liao - 2014 - Royal Institute of Philosophy Supplement 75:127-149.
    Methodologically, philosophical aesthetics is undergoing an evolution that takes it closer to the sciences. Taking this methodological convergence as the starting point, I argue for a pragmatist and pluralist view of aesthetic explanations. To bring concreteness to discussion, I focus on vindicating genre explanations, which are explanations of aesthetic phenomena that centrally cite a work's genre classification. I show that theoretical resources that philosophers of science have developed with attention to actual scientific practice and the special sciences can be used (...)
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  24. (1 other version)Twisted Pictures: morality, nihilism and symbolic suicide in the Saw series.Steve Jones - 2013 - In James Aston & John Walliss (eds.), To See the Saw Movies: Essays on Torture Porn and Post-9/11 Horror. McFarland. pp. 105-122.
    Given that numerous critics have complained about Saw’s apparently confused sense of ethics, it is surprising that little attention has been paid to how morality operates in narrative itself. Coming from a Nietzschean perspective - specifically questioning whether the lead torturer Jigsaw is a passive or a radical nihilist - I seek to rectify that oversight. This philosophical reading of the series explores Jigsaw’s moral stance, which is complicated by his hypocrisy: I contend that this underpins critical complaints regarding the (...)
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  25. The Technologies of Isolation.Steve Jones - 2010 - Japanese Studies 30 (2):185-198.
    In this investigation of the Japanese film Kairo, I contemplate how the horrors present in the film relate to the issue of self, by examining a number of interlocking motifs. These include thematic foci on disease and technology which are more intimately and inwardly focused that the film's conclusion first appears to suggest. The true horror here, I argue, is ontological: centred on the self and its divorcing from the exterior world, especially founded in an increased use of and reliance (...)
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  26. 'Time is Wasting': Con/sequence and S/pace in the Saw Series.Steve Jones - 2010 - Horror Studies 1 (2):225-239.
    Horror film sequels have not received as much serious critical attention as they deserve – this is especially true of the Saw franchise, which has suffered a general dismissal under the derogatory banner ‘Torture Porn’. In this article I use detailed textual analysis of the Saw series to expound how film sequels employ and complicate expected temporal and spatial relations – in particular, I investigate how the Saw sequels tie space and time into their narrative, methodological and moral sensibilities. Far (...)
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  27. Death of the Image/The Image of Death: Temporality , Torture and Transience in Yuuri Sunohara and Masami Akita's Harakiri Cycle.Steve Jones - 2011 - Journal of Japanese and Korean Cinema 3 (1):163-177.
    Sunohara Yuuri and Akita Masami’s series of six seppuku films (1990) are solely constituted by images of fictionalized death, revolving around the prolonged self-torture of a lone figure committing harakiri. I contend that the protagonist’s auto-immolation mirrors a formal death, each frame ‘killing’ the moment it represents. My analysis aims to explore how the solipsistic nature of selfhood is appositely symbolized by the isolation of the on-screen figures and the insistence with which the six films repeat the same scenario of (...)
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  28. The Pure Moment of Murder: The Symbolic Function of Bodily Interactions in Horror Film.Steve Jones - 2011 - Projections 6 (2):96-114.
    Both the slasher movie and its more recent counterpart the "torture porn" film centralize graphic depictions of violence. This article inspects the nature of these portrayals by examining a motif commonly found in the cinema of homicide, dubbed here the "pure moment of murder": that is, the moment in which two characters’ bodies adjoin onscreen in an instance of graphic violence. By exploring a number of these incidents (and their various modes of representation) in American horror films ranging from Psycho (...)
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  29. 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. Lexington, Ky.: University Press of Kentucky. pp. 14--32.
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  30. 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. Helsinki: University of Helsinki.
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Documentary Film
  1. La luz y sus secretos. Sandra Luz López Barroso.Byron Davies - 2023 - Los Experimentos.
    Spanish version of essay discussing two documentaries by the Oaxacan filmmaker and anthropologist Sandra Luz López Barroso, Artemio (2017) and The One Amongst the Shadows (El compromiso de las sombras, 2021), both focused on the Costa Chica of Guerrero.
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  2. Light and Its Secrets: Sandra Luz López Barroso.Byron Davies - 2023 - Los Experimentos.
    Discussion of two documentaries by the Oaxacan filmmaker and anthropologist Sandra Luz López Barroso, Artemio (2017) and The One Amongst the Shadows (El compromiso de las sombras, 2021), both focused on the Costa Chica of Guerrero.
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  3. প্রামাণ্যচিত্রের বিবর্তন : সত্যের খোঁজে, শিল্পের তাড়নায়.Md Mahmudul Hoque - 2014 - Magic Lanthon 3 (6):81-90.
    প্রামাণ্যচিত্র কী? এ প্রশ্নের উত্তর দেওয়া কঠিন,অনেকের মতে অসম্ভব। তবে সাদামাটাভাবে চিন্তা করলে আসলে যতোটা হয়তো বলা হয়,ততোটা নয়। কেননা, একজন সাধারণ দর্শক তো খুব সহজেই বুঝতে পারেন এটি ‘প্রামাণ্যচিত্র’ না ‘কাহিনীচিত্র’। কিন্তু, একটু গভীরভাবে চিন্তা করলে বিষয়টাকে কঠিনই মনে হয়। চলচ্চিত্রের মাধ্যমে নিছক সত্য বলা কিংবা তথ্য প্রচারই কি প্রামাণ্যচিত্র? মোটেও তা নয়। প্রামাণ্যচিত্র কথাটির সঙ্গে বিভিন্ন বিষয়ের অবতারণা ঘটে­—প্রমাণ, সত্য-মিথ্যা, বাস্তবতা, সত্যতা, সততা, সৃজনশীলতা, বাস্তবতার পুনর্নির্মাণ, প্রোপাগান্ডা ইত্যাদি। এসব বিষয়ই কখনো একটি আরেকটির সহযোগী আবার কখনো দ্বান্দ্বিক। তাই প্রামাণ্যচিত্রকে (...)
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  4. Identifying Documentary; Against the Trace Account.Shannon Brick - 2020 - Film and Philosophy 24:63-83.
    This article argues that we ought to reject Gregory Currie’s “Trace Account” of documentary film. According to the Trace Account, a film is a documentary so long the majority of its constitutive images are traces of the film’s subject matter. The argument proceeds by considering how proponents of the Trace Account could respond to Noel Carroll’s charge that their analysis is radically revisionary. I argue that the only responses available are either implausible or show that a fully worked out version (...)
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  5. The pleasures of documentary tragedy.Stacie Friend - 2007 - British Journal of Aesthetics 47 (2):184-198.
    Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, against (...)
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Genres of Film, Misc
  1. The Problem of Genre Explosion.Evan Malone - 2022 - Inquiry: An Interdisciplinary Journal of Philosophy.
    Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance novels, or film noir. It should be no surprise then, that philosophers of art have also been interested in genres. Whether they are giving accounts of genres as such or of particular genres, genre talk abounds in philosophy as much as it does the popular discourse. As a result, theories of genre proliferate as well. However, in their accounts, philosophers have so far focused on capturing all (...)
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  2. Historical Knowledge as Self-Understanding in the Films of Whit Stillman.Timothy Yenter - 2022 - Film and Philosophy 26:69-84.
    Whit Stillman’s films depict characters attempting to gain relevant knowledge of their historical situation so that they can shape their lives. Through an analysis of scenes from each of Stillman’s films, this essay demonstrates that historical knowledge is presented as a kind of self-understanding in the films. That historical knowledge is useful for gaining control over one’s future as well as for properly evaluating one’s life reveals a philosophically interesting approach to self-knowledge. Stillman’s complex approach of layering contexts further suggests (...)
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