Switch to: References

Citations of:

The ontology of the photographic image

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

Add citations

You must login to add citations.
  1. The Limits of Photography.Jiri Benovsky - 2014 - International Journal of Philosophical Studies 22 (5):716-733.
    This paper is about what counts as a photograph and what does not. One way in which this question arises stems from new technologies that keep changing our way of producing photographs, such as digital photography, which not only has now widely replaced traditional film photography but also challenges the very limits of what we count as a photograph. I shall discuss below at some length different aspects of digital photography, but also want to focus here on a new striking (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • The Active Room: Freud’s Office and the Egyptian Tomb.Julia K. Schroeder - 2020 - Frontiers in Psychology 11.
    Download  
     
    Export citation  
     
    Bookmark  
  • Photography and the Paradigm of the Trace.Daniel Nevin - unknown
    The idea that photographs can be explained as traces made by the things they depict has been a recurring paradigm in theories about the nature of the photographic medium. Walter Benjamin, Charles Sanders Peirce, Susan Sontag, Andre Bazin and Roland Barthes are a few of the many theorists who have used the paradigm of the trace to explain the nature of photographs. The paradigm can also be argued to have been a significant influence in the work of prominent artists such (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • On the Interplay of Sound Subcodes in Film.Alicja Helman - 1977 - Studia Semiotyczne—English Supplement 7:15-28.
    Download  
     
    Export citation  
     
    Bookmark  
  • Aesthetic Opacity.Emanuele Arielli - 2017 - Proceedings of the European Society for Aesthetics.
    Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Carne y Arena.Cato Wittusen - 2019 - Norsk Filosofisk Tidsskrift 54 (4):232-246.
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  • Machines for Living: Philosophy of Technology and the Photographic Image.Ryan Wittingslow - 2014 - Dissertation, University of Sydney
    This dissertation examines the relationship that exists between two distinct and seemingly incompatible bodies of scholarship within the field of contemporary philosophy of technology. The first, as argued by postmodern pragmatist Barry Allen, posits that our tools and what we make with them are epistemically important; disputing the idea that knowledge is strictly sentential or propositional, he claims instead that knowledge is the product of a performance that is both superlative and artefactual, rendering technology importantly world-constituting. The second, as argued (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Lives in Limbo: Memory, History, and Entrapment in the Temporal Gateway Film.Sarah Casey Benyahia - 2019 - Dissertation, University of Essex
    This thesis examines the ways in which contemporary cinema from a range of different countries, incorporating a variety of styles and genres, explores the relationship to the past of people living in the present who are affected by traumatic national histories. These films, which I’ve grouped under the term ‘temporal gateway’, focus on the ways in which characters’ experiences of temporality are fragmented, and cause and effect relationships are loosened as a result of their situations. Rather than a recreation of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Muisti.Jani Hakkarainen, Mirja Hartimo & Jaana Virta (eds.) - 2013 - Tampere: Tampere University Press.
    Proceedings of the annual congress of the Finnish Philosophical Association in 2013. Theme: memory.
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  • Compilation and Critique : The Essay as a Literary, Cinematographic and Videographic Form.Alex Fletcher - 2018 - Dissertation, Kingston University
    This dissertation critically engages the meaning and scope of the category of the ‘essay film’; a term that has gained increasing currency in recent decades in film studies and contemporary art to group a diverse array of moving-image works. Departing from recent literature on the essay film, the essay, as I argue, should be conceived less as a stable generic category, than as a dynamic form and experimental mode of writing and filmmaking, which employs and cuts across diverse literary, cinematic (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Three Kinds of Realism About Photographs.Jiri Benovsky - 2011 - Journal of Speculative Philosophy 25 (4):375-395.
    In this paper, I explore the nature of photographs by comparing them to hand-made paintings, as well as by comparing traditional film photography with digital photography, and I concentrate on the question of realism. Several different notions can be distinguished here. Are photographs such that they depict the world in a 'realist' or a 'factive' way ? Do they show us the world as it is with accuracy and reliability other types of pictures don't posses ? Do they allow us, (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • Experiencing Photographs Qua Photographs: What's so Special About Them?Jiri Benovsky - 2013 - Contemporary Aesthetics.
    Merely rhetorically, and answering in the negative, Kendall Walton has asked: "Isn't photography just another method people have of making pictures, one that merely uses different tools and materials – cameras, photosensitive paper, darkroom equipment, rather than canvas, paint, and brushes? And don't the results differ only contingently and in degree, not fundamentally, from pictures of other kinds?" Contra Walton and others, I wish to defend in this article a resounding "Yes" as being the correct answer to these questions. It (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Agamben as and Through Benjamin's Storyteller and Translator.McKnight Heather - unknown
    Written in the form of a fairy tale dialogue, presented like a novella, here an attempt is being made to reduce the gap between that which is being said and that which is being referred to itself. It aims to breathe life into the hypothesis of Agamben appearing as and through Benjamin’s Storyteller and Translator by presenting it in a state of becoming. The form is a nod to the spirit of the fairy tale in the work of both Agamben (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Finding a Basic Interpretive Unit Through the Human Visual Perception and Cognition-A Comparison Between Filmmakers and Audiences.Lingfei Luan - 2016 - Dissertation,
    The analysis method and paradigm of film have become a controversial topic in the data-driven era. Film, is not only an attractive industry that can achieve filmmakers’ imagination but has become a perfect stimulus to understand human being’s mental activity. The core research in this study is to examine the impact of filmmaking experience and the role of narrative denoters from filmmakers’ construction to audiences’ interpretation. Based on previous studies and integrating cognitive approaches, the thesis re-explores the nature and essence (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Modeling in Archaeology: Computer Graphic and Other Digital Pasts.Graeme Earl - 2013 - Perspectives on Science 21 (2):226-244.
    Computer graphic modeling forms an increasing part of archaeological practice, implicated in modes of recording objects and spaces, interpretation of types, management of three-dimensional information, creation of artificial experiences of place for interpretation, and representation of archaeological ideas to a broader public. In all spheres of life computer graphics are increasingly influential—by some estimates computed visions constitute the "dominant medium of thought" (Gooding 2008, p. 1). Archaeological computer graphics build on a long tradition of physical model building for the development (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • 'Pickman's Model': Horror and the Objective Purport of Photographs.Aaron Smuts - 2010 - Revue Internationale de Philosophie 4:487-509.
    It is commonly held, even among non-Bazinians, that photographs are typically perceived as more objective than other forms of depiction. The implications of this putative feature of photographic reception for the fiction film have been relatively ignored. If photos do have an objective purport, it would explain the power of a common device used in horror movies where a monster is selectively revealed through a degraded image, usually an amateur video recording. However, I argue that a better explanation is forthcoming. (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  • Noël Carroll.Maisie Knew - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge. pp. 196.
    Download  
     
    Export citation  
     
    Bookmark  
  • Interment: Re-Framing the Death of the Red Location Museum Building.Smith Michelle - 2016 - Kronos 1 (1):155-173.
    Download  
     
    Export citation  
     
    Bookmark  
  • Why 1839? : The Philosophy of Vision and the Invention of Photography.Didier Delmas - unknown
    1826 is the date attributed to the very first known photograph, Nicephore Niepce's "View from the Window at Gras." For traditional historians of photography this date marks the moment when the genius of man was finally able to merge the knowledge of chemistry with that of optics to create the most amazing technology of visual representation. However, those same historians recognize that the two essential components of photography---the camera and the properties of silver halides---had been known for centuries before the (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • 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.
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • Heidegger and the Romantics: The Literary Invention of Meaning.Pol Vandevelde - 2011 - Routledge.
    <P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion of (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • The Ecstasy of Time Travel in Werner Herzog's Cave of Forgotten Dreams.William Day - 2017 - In David LaRocca (ed.), The Philosophy of Documentary Film: Image, Sound, Fiction, Truth. Lanham, MD 20706, USA: Lexington Books. pp. 209-224.
    Documentary film is that genre of filmmaking that lays bare the fact of all film, which is that it presents "a world past" (Cavell, The World Viewed). This fact of film seems to point to a paradox of time in our experience of movies: we are present at something that has happened, something that is over. But what if we were to take this fact to show that film has the power to place us outside our ordinary, unreflective relation to (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • The Profane Illumination of Cinema: Knowledge, Uncertainty and Belief in the Age of Virtual Reality.Ramona Fotiade - 2018 - Journal for the Study of Christian Culture 40:204-230.
    This paper explores notions of realism, evidence, undecidability and faith in the context of our relationship with images following the digital revolution and the transition from a culture of analog photographic and filmic records to the new space-time of virtual reality. The first part of the paper contrasts the phenomenological account of photographic images and the post-structuralist elaboration of an aesthetics of spectrality in the works of Roland Barthes, Deleuze and Derrida. Through the comparative analysis of films exploring processes of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Introduction: Photography Between Art History and Philosophy.Diarmuid Costello & Margaret Iversen - 2012 - Critical Inquiry 38 (4):679-693.
    The essays collected in this special issue of Critical Inquiry are devoted to reflection on the shifts in photographically based art practice, exhibition, and reception in recent years and to the changes brought about by these shifts in our understanding of photographic art. Although initiated in the 1960s, photography as a mainstream artistic practice has accelerated over the last two decades. No longer confined to specialist galleries, books, journals, and other distribution networks, contemporary art photographers are now regularly the subject (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Fetal Images: The Power of Visual Culture in the Politics of Reproduction.Rosalind Pollack Petchesky - 1987 - Feminist Studies 13 (2):263.
    Download  
     
    Export citation  
     
    Bookmark   28 citations