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The evolution of the language of cinema

In Marc Furstenau (ed.), The Film Theory Reader: Debates and Arguments. Routledge (2010)

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  1. The ‘Good Form’ of Film: The Aesthetics of Continuity From Gestalt Psychology to Cognitive Film Theory.Maria Poulaki - 2018 - Gestalt Theory 40 (1):29-43.
    Summary This article questions certain assumptions concerning film form made by the recent psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative Gestalt genealogy that links (...)
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  • Noël Carroll.Maisie Knew - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge. pp. 196.
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  • The Speaking Abject in Kristeva's "Powers of Horror".Thea Harrington - 1998 - Hypatia 13 (1):138-157.
    This essay analyzes the implications of the performative aspects of Julia Kristeva 's Powers of Horror by situating this work in the context of similar aspects of her previous work. This construction and its relationship to abjection are integral components of Kristeva 's notion of practice and as such are fundamental to her critique of Hegel and Freud.
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