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  1. 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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  2. 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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  3. 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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  4. Towards a Science of Emerging Media.Barry Smith - 2015 - In J. E. Katz & J. Floyd (eds.), Philosophy of Emerging Media: Understanding, Appreciation and Application. Oxford University Press. pp. 29-48.
    If media studies are to become established as a genuine science, then it needs to be determined what the subject matter of this science is to be. I propose a specification of this subject matter as consisting in: 1. the new sorts of digital entities that have been added to social reality through the invention of the digital computer, and 2. the new sorts of interactions involving human beings which such entities make possible. I support this proposal by examining examples (...)
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Film Authorship
  1. Mechanical Recording In Arnheim’s Film As Art.Yvan Tétreault - 2008 - Postgraduate Journal of Aesthetics 5 (1):16-26.
    In his classic Film as Art, Rudolf Arnheim sets out to refute the claim that “Film cannot be art, for it does nothing but reproduce reality mechanically”.1 The usual argument in favor of that claim, he explains, contrasts film with realist painting, and goes something like this: There’s no doubt that what appears on the canvas depends on the way the painter sees the world, on her particular technique, on the colors she’s using, and so on. It is elements like (...)
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  2. Minimal Authorship (of Sorts).Christy Mag Uidhir - 2011 - Philosophical Studies 154 (3):373 - 387.
    I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distincitons between collective production and collective authorship.
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Narration in Film
  1. Unreliability and Point of View in Filmic Narration.Emar Maier - forthcoming - Epistemology and Philosophy of Science.
    The unreliable narrator is a key concept in literary scholarship. Humbert Humbert's description of Lolita seducing him; Patrick Bateman's analysis of the lyrics of Huey Lewis and the News (in American Psycho); or the unnamed narrator's fist fight with Tyler Durden (in Fight Club). These books all feature prominent first-person narrators that describe the events of the story. In doing so, they don't objectively describe what the fictional world is like, but they present that world from their limited, subjective, and (...)
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Movement in Film
  1. Seeing Motion and Apparent Motion.Christoph Hoerl - 2015 - European Journal of Philosophy 23 (3):676-702.
    In apparent motion experiments, participants are presented with what is in fact a succession of two brief stationary stimuli at two different locations, but they report an impression of movement. Philosophers have recently debated whether apparent motion provides evidence in favour of a particular account of the nature of temporal experience. I argue that the existing discussion in this area is premised on a mistaken view of the phenomenology of apparent motion and, as a result, the space of possible philosophical (...)
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Ontology of Film, Misc
  1. Mechanical Recording In Arnheim’s Film As Art.Yvan Tétreault - 2008 - Postgraduate Journal of Aesthetics 5 (1):16-26.
    In his classic Film as Art, Rudolf Arnheim sets out to refute the claim that “Film cannot be art, for it does nothing but reproduce reality mechanically”.1 The usual argument in favor of that claim, he explains, contrasts film with realist painting, and goes something like this: There’s no doubt that what appears on the canvas depends on the way the painter sees the world, on her particular technique, on the colors she’s using, and so on. It is elements like (...)
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  2. 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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  3. Ariadne at the Movies.John Dilworth - 2003 - Contemporary Aesthetics 1.
    ABSTRACT -/- Films are usually assumed to be types, with their templates or performances being tokens of those types. However, I give a counter-example in which two different films are simultaneously made by different directors, with the outcome of this process being a single template length of film which, I claim, embodies both of those films. But no two types could thus have a token in common, and hence type views of films must be incorrect. I further explain and defend (...)
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  4. Ariadne Revisited.John Dilworth - 2003 - Contemporary Aesthetics 1.
    ABSTRACT -/- My article, "Ariadne at the Movies," provided a detailed, double film counter-example to the claim that films are types. Here I defend my views against various criticisms provided by Aaron Smuts. The defense includes some necessary clarification of the Ariadne article's broader theoretical structure and background, as well as some additional anti-type arguments to further withstand his criticisms.
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