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  1. Narrativism and Performativity in Absurda and Darkened Room.Kristina Sekrst - 2024 - In Andrew M. Winters (ed.), A Critical Companion to David Lynch. Lexington Books.
    This chapter explores narrativism and performativity in David Lynch's short films Darkened Room and Absurda, focusing on how personal identity is constructed through storytelling. Lynch's films often blur the boundaries of identity, with narrativist theories suggesting that identity is shaped by the stories characters and others tell about themselves. The chapter examines Lynch's use of performative utterances, where speech acts alter reality, and how narrative power is central to identity formation. By analyzing these works, the chapter highlights the unique way (...)
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  2. “You and me, same!”: Political Envy in Do The Right Thing.Logan Canada-Johnson & Sara Protasi - forthcoming - Film and Philosophy.
    In this paper we argue that political envy is central to unraveling the racial dynamics in Spike Lee's Do The Right Thing. Building upon Sara Protasi’s taxonomy of envy and, in particular, from her analysis of some DTRT scenes, we conduct a more thorough interrogation of how political emotions, most notably envy, shape race relations in the film. We start by summarizing Protasi’s account of envy and then review two alternative accounts of political emotions. After elucidating what envy is and (...)
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  3. Curing Hitchcock’s Vertigo: A Second Dance with Rancière.Joshua M. Hall - forthcoming - Tábano. Translated by Leandro Cuellar.
    Building on my previous exploration of the role of dance in the contemporary French political philosopher Jacques Rancière’s Aisthesis: Scenes from the Aesthetic Regime of Art, first published in French in 2011, the present essay turns to another book originally published in the same year, The Intervals of Cinema. Having previously established that the core of Rancière’s philosophical method is an analysis of philosophical homonyms into figurative dancing conceptual partners, I begin by applying that method to the first chapter of (...)
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  4. Subjectivity in Film: Mine, Yours, and No One’s.Sara Aronowitz & Grace Helton - 2024 - Ergo: An Open Access Journal of Philosophy 11.
    A classic and fraught question in the philosophy of film is this: when you watch a film, do you experience yourself in the world of the film, observing the scenes? In this paper, we argue that this subject of film experience is sometimes a mere impersonal viewpoint, sometimes a first-personal but unindexed subject, and sometimes a particular, indexed subject such as the viewer herself or a character in the film. We first argue for subject pluralism: there is no single answer (...)
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  5. Ficta and Virtuality: An Ingardenian Ontology of Virtualized Ficta.Hicham Jakha - 2024 - Rivista di Estetica 85 (1):199-212.
    In my paper, I establish an Ingardenian phenomenological ontology of "virtualized ficta", i.e., fictional entities introduced to virtual gaming. The first Section of my paper provides an ontology of virtualized ficta, focusing primarily on their ‘‘existential moments’’. But in order to have a firm grasp of the ontological aspects grounding the virtual work, it’s important to engage its strata. This is what I attempt to do in Section 1.2. Virtualized ficta’s intentional dependencies are strongly manifest in what I call the (...)
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  6. Taking Feminist Pornography Seriously.Georgie Malone - 2024 - Film and Philosophy 28:19-37.
    It has been argued that an adequate feminist response to sexist pornography demands not just efforts to eradicate sexist beliefs, but also aesthetic counter-intervention at the level of taste. This view motivates support for feminist pornography. This paper takes the feminist pornography suggestion seriously by unpacking difficulties for the project. I begin by spelling out two views about what makes feminist pornography feminist: the ‘content view,’ and the ‘context view,’ and discuss what I take to be existing arguments for the (...)
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  7. "Hands Tied: a roundtable on Maria Lassnig and Ayesha Hameed" (5th edition).Rachel Aumiller, Sam Dolbear, Nadine El-Enany, Amelia Groom, Clio Nicastro, Anja Sunhyun Michaelsen & M. Ty - 2021 - Another Gaze: A Journal for Film and Feminism 5:34-42.
    'Hands Tied' brings together two very different films about hands: Maria Lassnig's Palmistry (1973) and Ayesha Hameed's A Rough History (of the Destruction of Fingerprints) (2016). These works are contextualised and their scope extended further by a roundtable discussion featuring participants Rachel Aumiller, Sam Dolbear, Nadine El-Enany, Amelia Groom, Clio Nicastro, Anja Sunhyun Michaelsen, and M. Ty., who discuss their relation to fate, work, pleasure, touch, and surveillance.
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  8. Learning from Intercultural Philosophy: Towards Aesthetics of Liberation in Critical African Filmmaking.Yonas B. Abebe & Birgit K. Boogaard - 2022 - Filosofie En Praktijk 43 (3/4):166-178.
    Cinema is neither neutral nor a universal medium. Particularly in African contexts, cinema contributes to European exceptionalism, imposes European values as the norm, and acts as an instrument of cultural and psychological control. It seems that African cinema is ontologically, politically, and aesthetically Eurocentric. By introducing an intercultural philosophical approach to the realm of cinema, we aim to move away from Eurocentrism in African cinema towards a more intercultural and dialogical orientation as an input for the liberation of humanity. Based (...)
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  9. Hans Maes and Katrien Schaubroeck (eds.) Before Sunrise, Before Sunset, Before Midnight: A Philosophical Exploration. [REVIEW]Pilar Lopez-Cantero - forthcoming - Journal of Value Inquiry:1-6.
    According to the book blurb (p. iv), the themes explored in the volume include the nature of love, romanticism, and marriage; the passage and experience of time; the meaning of life; the art of conversation, the narrative self; gender; and death. All these topics are indeed touched upon to a greater or lesser extent. I find this book to be, in its essence, an investigation of love and romance. So, my main question here is: what can we learn about romantic (...)
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  10. The Fallacy of Self-Referencing Images: The Use of Ambiguous Characters in Moving Images through the Form of Painting.Yu Yang - 2021 - Riact-Revista de Investigação Artística, Criação e Tecnologia 3:13-35.
    Connecting research and production, art research represents a breaking of the barrier between creation and academia. However, there is also a contradiction contained in this kind of research deriving from its methods, since the process of art-based practice must, by its very nature, involve the subjectivity of the artist. I use my own studies as the research object to discuss this issue, and this article presents the problems I encountered during my artistic practice and research of ambiguous roles. This paper (...)
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  11. Metaphors for Puzzles, Time, and Dreams: Ambiguous Narratives in Kaili Blues.Yu Yang - 2023 - International Journal of Literary Humanities 21 (2):1-20.
    In the film “Kaili Blues” by Bi Gan, intricate clues create complex connections between the plots steered by various characters. This relationship manifests in splitting time and alternating between dream and reality. This article analyzes Bi Gan’s approach to temporality and dreams by focusing on how he employs various film metaphors to deal with poetic narratives in his films. The article consists of three sections: First, it introduces the (puzzle) storytelling form of “Kaili Blues” as a promising area in many (...)
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  12. Projection of Multiple Fantasies: De-subjectivity of Images in Long Day’s Journey into Night.Yu Yang - 2022 - International Journal of the Image 13 (1):63-79.
    Gilles Deleuze demonstrated the key role of flashback in dealing with the relationship between actual image and recollection-image when interpreting the temporality of images. He established two criteria for judging whether a flashback implies a recollection-image by stating that: (1) it serves as some kind of prompt in the narrative to make the viewer perceive that the scene has entered a flashback; (2) it relies on fate or forking time. But Deleuze also mentioned that, if the context or condition disappears, (...)
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  13. Brains, ectobrains, and the construction of a subgenre. [REVIEW]Michel-Antoine Xhignesse - 2022 - Metascience 32 (1):87-90.
    Review of Fernando Vidal's _Performing brains on screen_ (Amsterdam 2022).
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  14. Videos, Police Violence, and Scrutiny of the Black Body.Sherri Irvin - 2022 - Social Research: An International Quarterly 89 (4):997-1023.
    The ability of videos to serve as evidence of racial injustice is complex and contested. This essay argues that scrutiny of the Black body has come to play a key role in how videos of police violence are mined for evidence, following a long history of racialized surveillance and attributions of threat and superhuman powers to Black bodies. Using videos to combat injustice requires incorporating humanizing narratives and cultivating resistant modes of looking.
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  15. Filming Concepts, Thinking Images: On Wonder, Montage and Disruption in an Image-Saturated.Vania Baldi & Nélio Conceição - 2022 - Eidos. A Journal for Philosophy of Culture 6 (2):70-85.
    This article explores the relation between cinema and philosophy through the lens of interest shown by some filmmakers in the lives and works of philosophers. It begins by delving into contemporary perspectives on the relationship between philosophy and cinema. In order to assess how the constitutive dissimilarity of the two terms and the ways in which they can be brought together are at the origin of speculative short circuits and experiences of wonder, it brings together the works of thinkers – (...)
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  16. A Holy Dullness: Tarkovsky, Suture, and the Numinous.Ryan Wittingslow - forthcoming - In Venetia Laura Delano Robertson & Carole M. Cusack (eds.), Handbook of Contemporary Religion, Film and Television. Brill.
    In this chapter, I argue that the films of Andrei Tarkovsky are particularly suitable for inducing feelings of the numinous. This suitability is a formal rather than semantic feature of his films, and is tied indelibly to what film scholars call ‘suture’. I with a summary of what film theorists mean by ‘suture’, before providing a principled defence of the Merleau-Pontian suture theory outlined by George Butte. Second, I will demonstrate that, in spite of the strength of Butte’s formulation, the (...)
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  17. Observers and Narrators in Fiction Film.Enrico Terrone - 2022 - Croatian Journal of Philosophy 22 (65):201-215.
    In the debate on our engagement with and appreciation of fiction films, the thesis that the viewer of a fiction film imagines observing fictional events, and the thesis that these events are imagined to be presented by a narrator, are usually taken as two components of one theoretical package, which philosophers such as George Wilson and Jerrold Levison defend, while philosophers such as Gregory Currie and Berys Gaut reject. This paper argues that the two theses can be disentangled and investigates (...)
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  18. Filmmaking and Philosophizing Against the Grain of Theory: Herzog and Wittgenstein.Mihai Ometiță - 2020 - In M. Blake Wilson & Christopher Turner (eds.), The Philosophy of Werner Herzog. Lexington Books. pp. 55-68.
    A leitmotif of the interviews Werner Herzog gave throughout several decades is his portrayal of himself as an anti-intellectualist, an anti-theorist, and an anti-philosopher. The text resorts to an established philosopher, who may have actually welcomed Herzog’s anti-intellectualist and anti-theoretical posture: Ludwig Wittgenstein. They both attempt to do justice – the former cinematically, the latter philosophically – to what is sometimes called the “human condition,” its quirks and fancies included. And they are both concerned with the trouble we experience in (...)
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  19. A Film-Philosophy of Ecology and Enlightenment.Rupert J. Read - 2018 - New York & Oxon, UK: Routledge.
    Inspired by the philosophy of Wittgenstein and his idea that the purpose of real philosophical thinking is not to discover something new, but to show in a strikingly different light what is already there, this book provides philosophical readings of a number of ‘arthouse’ and Hollywood films. Each chapter contains a discussion of two films—one explored in greater detail and the other analyzed as a minor key which reveals the possibility for the book's ideas to be applied across different films, (...)
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  20. CALL ME BY YOUR NAME E O PRESENTE DESLOCADO: ANOS 80 OU VISÃO DA ANTIGUIDADE?Gustavo Ruiz da Silva - 2021 - Contemplação 1 (24):52-63.
    Este artigo pretende fazer uma leitura possível do filme Call me by your name (2017), dirigido por Luca Guadagnino. O que se levanta como hipótese é que as relações entre Elio consigo mesmo, com seu ambiente e aqueles a sua volta não expressam o tempo lá representado, mas são um mascaramento de um momento em que as possibilidades eram outras. Para tal, apresentar-se-á uma breve introdução ao roteiro do filme, a fim de se entender quais são as problemáticas que o (...)
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  21. “I Saw a Different Life. I Can't Stop Seeing It”: Perfectionist Visions in Revolutionary Road.Paul Deb - 2021 - Film-Philosophy 25 (3):251-271.
    In this article, I claim that Sam Mendes' Revolutionary Road is a recent version of the film genre that Stanley Cavell calls the “melodrama of the unknown woman”. Accordingly, my discussion focuses on two key elements of that identification: the film's overriding dramatic and thematic emphasis on conversation; and the central characters’ relation to the wider social and political concerns of America.
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  22. "How Shall We Put Ourselves in Touch with Reality?" On Baldwin, Film, and Acknowledgment.Francey Russell - 2020 - Social Research: An International Quarterly 87 (4):991-1021.
    What might film’s contribution be to the work of acknowledgment, apology, and moral repair? James Baldwin's 1976 book on film, The Devil Finds Work, can be read as a reflection on the role that film might play in the extensive, multi-dimensional, public task of, as he puts it, putting ourselves in touch with reality, specifically the reality of American racism as an integral to American reality, its past and present. Developing Baldwin's thought, this paper outlines two broad types of cinematic (...)
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  23. Empathie.Íngrid Vendrell-Ferran - 2021 - In Siegmund Judith (ed.), Handbuch Kunstphilosophie. Stuttgart: Utb.
    Dieser Beitrag handelt von der Empathie in der Kunst. Ich beginne mit einer Reflexion über die Ursprünge des Begriffes und seine Verwendung in der Ästhetik. Es folgt eine Analyse der Empathie im Vergleich zu anderen Formen der Anteilnahme an Kunstwerken. Im dritten Teil untersuche ich die Mechanismen der Empathie in der Kunst und die Funktion der Imagination. Der vierte Teil widmet sich der Bedeutung der Gefühle bei der Empathie für Kunstfiguren. Schließlich thematisiere ich den epistemischen, moralischen und ästhetischen Wert der (...)
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  24. La estética y el arte a debate (II).José Ramón Fabelo-Corzo & Mariana Romero Bello (eds.) - 2018 - Puebla, Pue., México: Colección La Fuente, BUAP.
    El presente libro recopila algunas de las mejores investigaciones presentadas en el “IX Coloquio Internacional de Estética y Arte” en La Habana en diciembre del 2015, redactadas ahora a modo de artículos. La estética y el arte a debate II está compuesto por 27 artículos y se encuentra dividido en cinco bloques que, de alguna manera, reflejan las temáticas centrales alrededor de las cuales giró el encuentro del 2015. Los bloques temáticos son: 1 Arte, estética y política, 2 Cine y (...)
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  25. Imagination and Perception in Film Experience.Enrico Terrone - 2020 - Ergo: An Open Access Journal of Philosophy 7.
    Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting the monster but (...)
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  26. Sonic Pictures.Jason P. Leddington - 2021 - Journal of Aesthetics and Art Criticism 79 (3):354-365.
    Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; and cover songs (...)
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  27. Bienvenida Ternura: Emoción y Narración en la Nueva Serialidad Televisiva.Irene Martínez Marín - 2018 - In Alberto Nahum García Martínez & María J. Ortiz (eds.), Cine y series. pp. 217-232.
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  28. Mental Calisthenics and Self-Reflexive Fiction.Joshua Landy - 2015 - In The Oxford Handbook of Cognitive Approaches to Literature. New York, NY, USA: pp. 559-80.
    Drawing on what we know about priming effects, informational encapsulation, lucid dreaming, imaginative practice, and the “mirror box” illusion, this article argues that self-reflexive fictions may enhance our capacity for simultaneous belief and disbelief, a capacity of surprising importance for human flourishing.
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  29. Blessed Are the Forgetful: Utilitarianism and Remarriage in Eternal Sunshine of the Spotless Mind.Enrico Terrone - 2017 - Film and Philosophy 21:74-90.
    This paper considers two different kinds of philosophical interpretations of the movie Eternal Sunshine of the Spotless Mind. On the one hand, Eternal Sunshine as a thought experiment that can function as an argument against utilitarianism. On the other hand, Eternal Sunshine as an instance of the genre of the remarriage comedy. I will argue that these two kinds of interpretations are in conflict. More specifically, Eternal Sunshine, understood as a comedy of remarriage, cannot function as an argument against utilitarianism, (...)
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  30. The Nights of Cabiria as a Camusian Existentialist Text.Iddo Landau - 2012 - Film and Philosophy 16:53-69.
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  31. Spur, Zeugnis und Imagination: Der Erkenntniswert von Dokumentarfilmen.Ingrid Vendrell Ferran - 2020 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 65 (1):147-167.
    In diesem Aufsatz argumentiere ich für die These, dass alle Dokumentarfilme darauf abzielen, uns Erkenntnis über einen Aspekt der Realität zu vermitteln. Dieser These zufolge sind Dokumentarfilme – im Unterschied zu anderen Filmgattungen – der Wirklichkeit verpflichtet. Vor diesem Hintergrund sollen in diesem Aufsatz zwei Aspekte genauer untersucht werden: zum einen, wie der kognitive Wert von Dokumentarfilmen genauer zu verstehen ist, und zum anderen, inwiefern ausgehend von diesem epistemischen Aspekt Unterscheidungskriterien zwischen Dokumentarfilmen und anderen Filmgattungen entwickelt werden können. Der Aufsatz (...)
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  32. Susan Buck-Morss – Voz filosófica que, sin duda, necesita ser escuchada.Montserrat Crespin Perales - 2017 - UOC-ARTS I HUMANITATS.
    Filosofía con imágenes, imágenes con filosofía Estanterías, libros, novedades editoriales…y muchas veces un sentimiento de desasosiego frente a nombres y grupos de novísimos filósofos y filósofas de los que no se sabe si, con el tiempo, pasarán a olvidarse como estrellas fugaces o serán constelaciones duraderas. Y, entre el cambio de estaciones, de modas y catálogos, algún nombre que se descubre por casualidad y que pasa a formar parte personal de aquellas voces filosóficas que, sin duda, necesitan ser escuchadas, a (...)
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  33. Using Gattaca to Teach Genetic Discrimination.Peter Murphy - 2009 - Film and Philosophy 1 (13):65-76.
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  34. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty: New Essays in Aesthetics and the Philosophy of Art. München, Deutschland: Philosophia.
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
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  35. El Infierno y Salvando al soldado Pérez. Entre el realismo macabro y el ridículo mágico.Mario Edmundo Chávez Tortolero - 2019 - In Carlos Oliva Mendoza & Luis Guillermo Martínez Gutiérrez (eds.), Cine mexicano y filosofía. Editorial Itaca.
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  36. Espectadores, gigantes e infancia: Jean-Jacques Rousseau y Víctor Erice.Byron Davies - 2018 - Correspondencias. Cine y Pensamiento.
    Spanish translation, with some additions, of "Spectators and Giants in Rousseau and Víctor Erice.".
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  37. Spectators and Giants in Rousseau and Víctor Erice.Byron Davies - 2016
    This essay explores how some themes in the writing of Jean-Jacques Rousseau—particularly having to do with what it is to be a spectacle before others—might illuminate two feature films by the Spanish director Víctor Erice, The Spirit of the Beehive (El espíritu de la colmena, 1973) and El sur (1983).
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  38. We All Need Mirrors to Remind Us Who We Are: Inherited Meaning and Inherited Selves in Memento.Michael Baur - 2005 - In Paul Tudico & Kimberly Blessing (eds.), Movies and the Meaning of Life: Philosophers Take On Hollywood. Open Court Publishing. pp. 94-110.
    The movie Memento (2000) broaches several interrelated philosophical questions concerning human knowledge, personal identity, and the human search for meaning. For example, is our knowledge based mainly on conclusions reached through our own reason, or is it based instead on habituation and conditioning brought about by forces outside of us? What is the role that memory plays in our knowledge? Furthermore, what is the relationship between memory and personal identity? And what is the relationship between memory, personal identity, and the (...)
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  39. (1 other version)Moonstruck, or How to Ruin Everything.William Day - 2003 - In Kenneth Dauber & Walter Jost (eds.), Ordinary Language Criticism: Literary Thinking After Cavell After Wittgenstein. pp. 315-328.
    A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.
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  40. (1 other version)Moonstruck, or how to ruin everything.William Day - 1995 - Philosophy and Literature 19 (2):292-307.
    A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.
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  41. Time-Traveling Image: Gilles Deleuze on Science-Fiction Film.Joshua M. Hall - 2016 - Journal of Aesthetic Education 50 (4):31-44.
    The first section of this article focuses on the treatment of “time travel” in science-fiction literature and film as presented in the secondary literature in that field. The first anthology I will consider has a metaphysical focus, including (a) relating the time travel of science fiction to the banal time travel of all living beings, as we move inexorably toward the future; and (b) arguing for the filmstrip as the ultimate metaphor for time. The second anthology I will consider has (...)
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  42. (1 other version)Whence Did German Propaganda Films Derive Their Power?Gary James Jason - 2016 - Reason Papers 38 (1).
    In this essay, I review in great detail Ian Garden’s outstanding book, The Third Reich’s Celluloid War. Garden begins by discussing propaganda theory and then discusses not just Nazi feature films and documentaries, but television as well. (The Nazis had the earliest TV network). All in all, the regime produced over 1,300 feature films during its time in power. Garden also compares Nazi propaganda films to British and American ones.
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  43. Screen Performers Playing Themselves.Matthew Crippen - 2016 - British Journal of Aesthetics 56 (2):163-177.
    Whereas recent commentators have suggested that consumer demand, typecasting and marketing lead performers to maintain continuities across films, I argue that cinema has historically made it difficult to subtract performers from roles, leading to relatively constant comportment, and that casting, marketing and audience preference are not only causes but also effects of this. I do so using thought experiments and empirical experiments, for example, by pondering why people say they see Jesus in paintings of him and rarely mention models, but (...)
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  44. On sexuality, carnality and desire: philosophical reflections on the film The Monk.Paulina Tendera, Dominika Czakon & Natalia Anna Michna - 2015 - Estetyka I Krytyka 37:79-104.
    The eighteenth‑century English writer Matthew Gregory Lewis wrote one of the most dramatic Gothic novels, The Monk; over 200 years later, a film of the same name appeared, based on the novel and directed by Dominik Moll. The film, a free adaptation of the book, presenting the story of the moral downfall of the monk Ambrosio, has inspired us to philosophical reflections on sexuality, sensuality, and physical desire. We have attempted to analyze and interpret this cinematic work of art in (...)
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  45. Elements of Literature: Essay, Fiction, Poetry, Drama, Film.Robert Scholes, Carl H. Klaus, Nancy R. Comley & Michael Silverman (eds.) - 1991 - Oxford University Press USA.
    Providing the most thorough coverage available in one volume, this comprehensive, broadly based collection offers a wide variety of selections in four major genres, and also includes a section on film. Each of the five sections contains a detailed critical introduction to each form, brief biographies of the authors, and a clear, concise editorial apparatus. Updated and revised throughout, the new Fourth Edition adds essays by Margaret Mead, Russell Baker, Joan Didion, Annie Dillard, and Alice Walker; fiction by Nathaniel Hawthorne, (...)
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  46. Purity and Provocation: Dogma 95.Mette Hjort & Scott MacKenzie - 2003 - British Film Inst.
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  47. Same Old New German Cinema, on Julia Knight's New German Cinema: Images of a Generation.Amresh Sinha - 2005 - Film-Philosophy 9 (2).
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  48. Shawn C. Bean (2008) The First Hollywood: Florida and the Golden Age of Silent Filmmaking. [REVIEW]Carrie Giunta - 2013 - Film-Philosophy 17 (1):501-502.
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  49. Throne of Blood and the Metaphysics of Tragedy.Henry Somers-Hall - 2013 - Film-Philosophy 17 (1):68-83.
    The aim of this paper is to explore the metaphysical foundations of Throne of Blood , Kurosawa's reworking of Shakespeare's Macbeth . Using Hegel's theory of tragedy, I develop the distinction between Greek and modern tragedy, with their differing bases in ethical and subjective freedom. I then show that Noh drama also includes a very different metaphysical account, stemming from its theoretical roots in Buddhism. I then use these three differing accounts (Greek, modern and Noh drama) to explore the effect (...)
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  50. Luc Dardenne, Au dos de nos images (1991-2005), suivi de Le Fils et L'Enfant par Jean-Pierre et Luc Dardenne.Joseph Mai - 2007 - Film-Philosophy 11 (1):70-74.
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