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Switch to: References
Citations of:
Theory of Film: The Redemption of Physical Reality
Princeton University Press (1997)
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The cinema of the Dardenne brothers represents a new kind of cinema, one that challenges a number of our conventional ways of thinking about the distinction between religion and secularism, belief and unbelief. Their films explore the intricacies of spiritual and ethical transformations as they are experienced within embodied, material life. These features of their cinema will be examined primarily through the lens of Emmanuel Levinas’s philosophy of the imbrication of the drama of existence and the ethical intrigue of self (...) |
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The article explores the relationship between visual culture and the fight for visibility and attention in contemporary society. It draws on a concept of visual culture which not only sees the rising significance of the visual and the proliferation of images as its defining traits, but also the fact that, today, people are—to a much higher degree—both consumers as well as producers of images. Based on this definition, it is argued that in visually oriented communication and media societies, the anthropologically (...) |
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The thesis argues that the notion of film consciousness deepens a wide-range of philosophical issues in ways which are only accessible through film experience. These issues, directly related to the continental tradition, deal with consciousness, experience, intentionally and meaning. We look to the implications of the initial acts of film reproduction as it creates 'images' of the world which reconceptualise vision in terms of space, time and dimension. We move from ontology to experience and examine an aesthetic form with radical (...) |
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This article deals with the aesthetics of the art documentary of the 1940s and 1950s, which can be considered as the Golden Age of the genre. Prior to the breakthrough of television in Europe, which would usurp and standardize the art documentary, cinematic reproductions of artworks resulted in experimental shorts that were highly self-reflexive. These films became visual laboratories to investigate the tensions between movement and stasis, the two- and three-dimensional, and the real and the artificial—a film on art was (...) |
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This thesis explores how we might think the relation between psychoanalysis and the cultural field through Donald Winnicott’s concept of the environment, seeking to bring the concept into dialogue with more “classical” strands of psychoanalytic theorizing. A substantial introduction sets out the rationale behind the thesis by reading Freud and Winnicott in relation to the “classic” and the “romantic”, or the “negative” and “positive”, in psychoanalytic thought. It goes on to outline the value of bringing these tendencies together in order (...) |
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Cynthia Freeland’s investigation of four kinds of ‘fidelity’ in portraiture is cut across by more general philosophical concerns. One is about what might be called the expression of persons--the persons or ‘inner selves’ of portrait subjects and of portrait artist: whether either is possible across each of the four kinds of fidelity, and whether these two kinds of expression are in tension. More fundamental is the problem of telling how self-expression is at all possible in any of these forms. Finally, (...) |
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Within the loose group of studies that are sometimes labelled Heideggerian cinema – studies in which scholars consider film in conjunction with Heidegger's philosophy – little attention has been paid to Heidegger's actual view of cinema. This omission is not only odd but it is also problematic. In the off-hand comments Heidegger directs towards film throughout his collected works he criticises the medium for its covering over of Being, a fact that makes engaging with film through Heidegger's thinking a questionable (...) |
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This thesis investigates the metaphysical nature of necessity. My study focuses primarily on the reduction of metaphysical necessity and the question of whether a necessary truth can be reductively defined. Theodore Sider develops a new reductive account of metaphysical necessity. Unfortunately, the multiple realizability problem posed by Jonathan Schaffer undermines the credibility of Sider’s account. This underlies my motivation to search for a revised Siderian account of necessity. On this basis, I propose a modified version of Sider’s account and argue (...) |
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Summary Embodied simulation, a basic functional mechanism of our brain, and its neural underpinnings are discussed and connected to intersubjectivity and the reception of human cultural artefacts, like visual arts and film. Embodied simulation provides a unified account of both non-verbal and verbal aspects of interpersonal relations that likely play an important role in shaping not only the self and his/her relation to others, but also shared cultural practices. Embodied simulation sheds new light on aesthetic experience and is proposed as (...) |
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Our aim is to point out some differences between verbal and visual arguments, promoting the rhetorical perspective of argumentation beyond the relevance of logic and pragmatics. In our view, if it is to be rational and successful, film as (visual) argumentation must be addressed to spectators who hold informed beliefs about the theme watched on the screen and the medium’s constraints and conventions. In our reflections to follow, we apply rhetorical analysis to film as a symbolic, human, and communicative act (...) |
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Cheng Hao was a Confucian thinker during the Song dynasty. He strove to restore and reconstruct classical Confucianism. Although his theses were inherited from the Confucian classic, including the Anatects, Mencius, the Classic of Changes, and the Doctrine of the Mean, his interpretations offer learners new insight and perspective in understanding Confucianism. He and his younger brother, Cheng Yi, are commonly referred to as the “Two Chengs” for their parallel efforts in laying the groundwork of Neo-Confucianism. |
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Kracauer’s rehabilitation in the 1990s sidelined his Marxist framework of the middle-to-late Weimar era in favour of the then still dominant if decaying paradigms of poststructuralism and postmodernism. It was also silent on the relationship between Kant and Marxism in Kracauer’s work. This essay addresses these weaknesses by arguing that Kracauer transcoded the structure of Kant’s ‘problematic’ around reification into a Marxist framework in the middle-to-late Weimar period. The essay considers how Kracauer conceived the mass ornament as a site of (...) |
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A colleague of Roland Barthes at the CNRS in the 1950s and cowriter and friend of Cornelius Castoriadis until the latter's death, Edgar Morin has until recently been too little known in the English-speaking world. In an oeuvre that spans half a century, attempting to combine in ongoing dialogue the `humanities' and `sciences', Morin has written on scientific method, fundamental anthropology, politics, contemporary life and popular culture. He is an advocate of `complex' thought, thought which does not reduce, rationalize and (...) |
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Section 1 of this thesis investigates one issue in meta-ethics, namely, the nature of moral judgments. What are moral judgments? What does it mean by "wrong" when we assert "Killing is wrong?" Neo-sentimentalism is a meta-ethical theory which holds that the judgment that killing wrong is the judgment that it is appropriate to have a particular negative emotion towards the action. In other words, to judge that murder is wrong is to judge that we have a right reason for having (...) |
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Surface has become an important consideration of sensory film theory, conceived of in various forms: the screen itself as less a barrier than a permeable skin, the site of a meaningful interaction between film and audience; the image as a surface to be experienced haptically, the eye functioning as a hand that brushes across and engages with the field of vision; surfaces within the film, be they organic or fabricated, presenting a tactile appeal. Surface evokes contact and touch, the look (...) |
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Reconstructing the content of Xunzi’s moral knowledge is the main goal of this thesis. A first main task of this reconstruction is to provide a clarification of the content and functions of li. A second primary goal of the reconstruction is to discuss the roles and functions of the moral sage or morally superior person, junzi, in Xunzi’s account of moral practice. The figure of the sage is important in explaining the rationale of li and exemplifying how to behave in (...) |
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