Results for 'Cinema'

183 found
Order:
See also
Bibliography: Cinema in Aesthetics
  1. Cinema e o Sonho Implicado: Uma leitura Deleuziana.Susana Viegas - 2022 - Rebeca, Revista Brasileira de Estudos de Cinema E Audiovisual 11 (21):203-219.
    The Deleuzian studies on cinema highlight the importance of two semiotic regimes (movement-image and time-image) for the understanding of our aesthetical and epistemological relationship with moving images. On the contrary, this article highlights the moments of crisis between the two regimes, pointing out the generic character of uncertainty and ambiguity in the nature of mental images: once the sensorimotor scheme that dominates the cinematographic montage has been weakened, the characters, unable to act, can imagine, desire, dream, hallucinate, and remember. (...)
    Download  
     
    Export citation  
     
    Bookmark  
  2. Cinema e o Sonho Implicado: Uma leitura Deleuziana.Susana Viegas - 2022 - Rebeca, Revista Brasileira de Estudos de Cinema E Audiovisual 11 (21):203-219.
    Os estudos deleuzianos sobre o cinema destacam a importância dos dois regimes semióticos (imagem-movimento e imagem-tempo) para a compreensão da nossa relação estética e epistemológica com as imagens em movimento. Pelo contrário, este artigo procura destacar os momentos de crise entre os dois regimes assinalando o carácter genérico de incerteza e ambiguidade da natureza das imagens mentais: enfraquecido o esquema sensório-motor que domina na montagem cinematográfica, as personagens, incapazes de agir, podem imaginar, desejar, sonhar, alucinar, e lembrar. Surgem novos (...)
    Download  
     
    Export citation  
     
    Bookmark  
  3. Time in Cinema and Modern Art: Reflections Inspired by Farshad Zahedi and Francisco Jiménez Alcarria’s The Petrified Object And The Poetics Of Time In Cinema.Susana Viegas - 2022 - Journal of Science and Technology of the Arts 2 (14):125-129.
    Inspired by Farshad Zahedi’s audiovisual essay The Petrified Object and the Poetics of Time in Cinema, this article briefly presents three philosophical approaches to cinema’s ways of expressing time – as articulated by Bergson, Tarkovsky, and Deleuze – and questions how absolute time and chronological time are brought to a state of crisis by this modern form of art.
    Download  
     
    Export citation  
     
    Bookmark  
  4. European Cinema and Continental Philosophy: Film as Thought Experiment, by Thomas Elsaesser. [REVIEW]Ekin Erkan - 2019 - Alphaville 18:232–238.
    Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser (...)
    Download  
     
    Export citation  
     
    Bookmark  
  5. Cinema e o Sonho Implicado: Uma leitura Deleuziana.Susana Viegas - 2022 - Rebeca, Revista Brasileira de Estudos de Cinema E Audiovisual 11 (21):203-219.
    Download  
     
    Export citation  
     
    Bookmark  
  6.  49
    Chinese Cinema in the Global Age: Ashes of Time and the Human Condition.Sinkwan Cheng - 2008 - Asian Cinema 20 (1):86-103.
    uses Schopenhauer, Lacan, and Buddhism to elucidate the tragic sense of human existence as conveyed by Wong Kar-wai.
    Download  
     
    Export citation  
     
    Bookmark  
  7. The Manifestation Of Nationalism In The Cinema: Reading The Turkish Nation Building Process Through The Türkiye’nin Kalbi Ankara Movie (1934).Atıl Cem Çiçek & Metehan Karakurt - 2023 - Ideology and Politics Journal 23 (1):309-329.
    Cinema is not only a space in which directors act with the aim of making art, but they also reflect their own testimonies and political perspectives; this study, which claims to be related to representation strategies that contain various interests and desires; It is of the opinion that different ideological approaches are reflected on the screen by political and cultural elites in line with the construction, legitimacy and movement of identities and images. In this study, which examines the Türkiye’nin (...)
    Download  
     
    Export citation  
     
    Bookmark  
  8. The Cinema of Poetry. [REVIEW]Maria Irene Aparicio - 2018 - Cinema - Journal of Philosophy and the Moving Image (10):183-188.
    Download  
     
    Export citation  
     
    Bookmark  
  9. Same Old New German Cinema, on Julia Knight's New German Cinema: Images of a Generation.Amresh Sinha - 2005 - Film-Philosophy 9 (2).
    Download  
     
    Export citation  
     
    Bookmark  
  10. Chapter 9 Memories of Cinema.Robert W. Luzecky - 2023 - In Robert W. Luzecky & Daniel W. Smith (eds.), Deleuze and Time. Edinburgh, UK: Edinburgh University Press. pp. 179-212.
    Download  
     
    Export citation  
     
    Bookmark  
  11. Desired Machines: Cinema and the World in Its Own Image.Jimena Canales - 2011 - Science in Context 24 (3):329-359.
    ArgumentIn 1895 when the Lumière brothers unveiled their cinematographic camera, many scientists were elated. Scientists hoped that the machine would fulfill a desire that had driven research for nearly half a century: that of capturing the world in its own image. But their elation was surprisingly short-lived, and many researchers quickly distanced themselves from the new medium. The cinematographic camera was soon split into two machines, one for recording and one for projecting, enabling it to further escape from the laboratory. (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  12. The Third Man: comparative analysis of a science autobiography and a cinema classic as windows into post-war life sciences research.Hub Zwart - 2015 - History and Philosophy of the Life Sciences 37 (4):382-412.
    In 2003, biophysicist and Nobel Laureate Maurice Wilkins published his autobiography entitled The Third Man. In the preface, he diffidently points out that the title was chosen by his publisher, as a reference to the famous 1949 movie no doubt, featuring Orson Welles in his classical role as penicillin racketeer Harry Lime. In this paper I intend to show that there is much more to this title than merely its familiar ring. If subjected to a comparative analysis, multiple correspondences between (...)
    Download  
     
    Export citation  
     
    Bookmark   9 citations  
  13. Sculpting in time: temporally inflected experience of cinema.Robert Hopkins - 2019 - In Jerome Pelletier & Albert Voltolini (eds.), The Pleasure of Pictures: Pictorial Experience and Aesthetic Appreciation. Routledge. pp. 201-223.
    We engage with all representational pictures by seeing things in them. Seeing-in is a distinctive form of visual experience, one in which we are aware of both the marks, projected lights, or whatever that make up the picture (its Design) and what the picture represents (Scene). Some seeing-in is inflected: what we then see in the picture is a scene the properties of which make essential reference to Design. Since cinema involves moving pictures, it too supports seeing-in. But can (...)
    Download  
     
    Export citation  
     
    Bookmark  
  14.  82
    A Study on Miasma, Purification and the Problem of Evil in Modern Cinema: The Case of the Movie La Jauria (2022) (15th edition).Atilla Akalın & Burcu Yüce Akalın - 2024 - International Journal of Eurasia Social Sciences (Ijoess) 15 (55):406-418.
    In the ancient Greek world, the concept of 'miasma,' which becomes permanent and has the potential to grow over time due to evil acts such as murder committed in the city, is a concept frequently referred to in many classical tragedies. To the extent that miasma has a bad connotation due to its nature and is a situation that occurs due to evil actions, it can be considered together with the philosophical problem of evil. In this study, we aim to (...)
    Download  
     
    Export citation  
     
    Bookmark  
  15. Screening the church: A study of clergy representation in contemporary Afrikaans cinema.Shaun Joynt & Chris Broodryk - 2018 - HTS Theological Studies 74 (2):1-8.
    The church-funded CARFO or KARFO (Afrikaans Christian Filmmaking Organisation) was established in 1947, and aimed to ‘[socialise] the newly urbanized Afrikaner into a Christian urban society’ (Tomaselli 1985:25; Paleker 2009:45). This initiative was supported and sustained by the Dutch Reformed Church (DRC), which had itself been part of the sociopolitical and ideological fabric of Afrikaans religious life for a while and would guide Afrikaners through tensions between religious conservatism and liberalism and into apartheid. Given Afrikaans cinema’s ties with Christian (...)
    Download  
     
    Export citation  
     
    Bookmark  
  16. The History of Cinema and America’s Role in It: Review Essay of D. Gomery and C. Pafort-Overduin’s Movie History: A Survey. [REVIEW]Gary James Jason - 2013 - Reason Papers 35 (1):170-186.
    Download  
     
    Export citation  
     
    Bookmark  
  17. Fictional Truth in Digital Cinema: A Criticism against John Dilworth.Carmina Sera Jose - manuscript
    In digital cinema, the ambiguity in the concept of representation asks us: How do moving pictures represent fictional objects? I am more concerned in the veracity of fictional objects than the representational theory of how fictional objects are generated. I claim that John Dilworth’s framework is uncritical, therefore, I will adopt an account of truth in fiction according to David Lewis. The purposes of this paper are: (1) to criticize John Dilworth’s framework, and (2) to provide Lewis’s theory as (...)
    Download  
     
    Export citation  
     
    Bookmark  
  18. Immanent Frames. Postsecular Cinema between Malick and von Trier. [REVIEW]Maria Irene Aparicio - 2021 - Cinema: Journal of Philosophy and the Moving Image 13:107-113.
    Sob o título "Immanent Frames. Postsecular Cinema between Malick and von Trier", o livro editado por John Caruana e Mark Cauchi inclui um conjunto significativo de artigos sobre cinema “pós-secular”, de autores prestigiados, nomeadamente os próprios editores, mas também Robert Sinnerbrink, Catherine Wheatley, Sarah Cooper e William Rotham, entre outros. O livro está estruturado em 13 capítulos, distribuídos por três partes – Parte I: “The Poles of Postsecular Cinema: Malick and Von Trier”; Parte II: “The Spectrum of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  19. 'Melancholia' a 2011 cinema masterpiece by Lars von Trier seen through the Philosophies of Schopenhauer and Nietzsche.Marcos Wagner Da Cunha - manuscript
    Why did human beings throughout the millennia so often think about a doomsday? Could there be a profit to our inner pleasure and pain equilibrium, when believing that doomsday is nearing, an idea suggested by Sigmund Freud? An analogous instinctive dynamics was thought by Nietzsche who wrote that human beings do prefer to want the nothingness rather than not to want anything at all. In this essay, 'Melancholia', a movie by Lars von Trier, is taken as an exquisite masterpiece, a (...)
    Download  
     
    Export citation  
     
    Bookmark  
  20. Phenomenology and Ecology: Art, Cities, and Cinema in the Pandemic.Matthew Crippen - 2021 - Polish Journal of Aesthetics 61.
    COVID-19 infects cities, here grasped as quasi-living functioning systems, and the changes inflicted can poetically open us to certain things. Drawing on ecological psychology, we maintain that this brings people into contact with different realities depending on their overall wellbeing, arguing that the aesthetic experience of cities accordingly varies. We then consider iterations of these ideas in dystopian cinema, which portrays global threats altering human relations with technology, art, and the world.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  21.  83
    Heterotopias e utopias na construção de corpos no cinema francês contemporâneo de horror: lugares de memória para uma arqueologia do medo.Alex Pereira De Araújo - 2014 - Rio de Janeiro: Dialogarts. Edited by Flávio Garcia, Marcello de Oliveira Pinto & Júlio França.
    Os corpos no cinema estão sob a ordem de um olhar soberano que nos diz para onde devemos olhar e como devemos fazer isso. É um olhar poderoso que tudo sabe e tudo pode. Um olhar que nos posiciona não como simples espectadores, mas como sujeitos. É a partir daí que buscamos compreender como se arquitetam o medo, ou seja, qual é a ordem do cinema de horror, tecido com a pena do medo? Nessa arquitetura, os corpos aparecem (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  22. Film as Philosophy: Essays on Cinema After Wittgenstein and Cavell.Rupert Read & Jerry Goodenough (eds.) - 2005 - New York: Palgrave Macmillan.
    A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in film and how they can come together.
    Download  
     
    Export citation  
     
    Bookmark   14 citations  
  23.  67
    Utopias e heterotopias no interior e nas fronteiras do discurso-corpo no cinema francês de horror contemporâneo.Alex Pereira De Araújo - 2014 - Vitória da Conquista: Labedisco UESB. Edited by Nilton Milanez, Marisa Martins Gama-Khalil & Analyz Pessoa-Braz.
    Neste capítulo, vamos tratar do discurso-corpo demarcado pelas utopias em justaposição com as heterotopias em duas produções cinematográficas do horror francês contemporâneo. Dessa forma, o corpo que operamos é feito de discurso, ou seja, todo seu tecido, seus órgãos, seus sistemas, seus ossos são discursos sobrepostos pelo visível e pelo dizível, da mesma forma, como demonstrou Foucault na obra O Nascimento da Clínica em 1963.
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  24. Introduction to the Special Issue on Caste and Cinema.Arijeet Mandal - 2022 - All About Ambedkar: A Journal on Theory and Praxis 3 (1):1-39.
    The following Introduction briefly traces, albeit in jarring cuts, the evolution of caste question and its relationship with Indian cinema. It also tries to point out some aspects of Indian film theory, its lacunae and hopes that some of the questions raised here may give rise to future works by other (better) theorists. Pre-Independence cinema in India rarely addressed caste question, and if it did, then it was through an abstract global humanist lens. This tendency to address caste (...)
    Download  
     
    Export citation  
     
    Bookmark  
  25. Jones, S. (2018) 'Preserved for Posterity? Present Bias and the Status of Grindhouse Films in the " Home Cinema " Era', Journal of Film and Video, 70:1.Steve Jones - 2018 - Journal of Film and Video 70 (1).
    Despite the closure of virtually all original grindhouse cinemas, ‘grindhouse’ lives on as a conceptual term. This article contends that the prevailing conceptualization of ‘grindhouse’ is problematized by a widening gap between the original grindhouse context (‘past’) and the DVD/home-viewing context (present). Despite fans’ and filmmakers’ desire to preserve this part of exploitation cinema history, the world of the grindhouse is now little more than a blurry set of tall-tales and faded phenomenal experiences, which are subject to present-bias. The (...)
    Download  
     
    Export citation  
     
    Bookmark  
  26. Qu'est-ce que le cinéma?Eric Dufour - 2009 - Librairie Philosophique Vrin.
    Une mise en lumière de la spécificité du cinéma en trois parties : le cinéma et l'image, le cinéma et le langage, le cinéma et le montage. Deux textes de G. Deleuze et N. Burch complètent l'ensemble.
    Download  
     
    Export citation  
     
    Bookmark  
  27.  45
    The Machine of the Future (La máquina de futuro): A film and an expanded cinema assemblage.Byron Davies - 2024 - Hangar.
    English version of collaborative essay with Oaxaca-based Mexican experimental filmmaker Bruno Varela on his found footage project La máquina de futuro. Published on the website of Hangar, the Lisbon, Portugal-based Artistic Research Center, to mark the online exhibition of La máquina de futuro as well as three other works by Varela.
    Download  
     
    Export citation  
     
    Bookmark  
  28. The notions and imagination of space and time in British colonial and African intercultural philosophical cinema.Louise Muller & Meera Venkatachalam - 2022 - Filosofie En Praktijk 43 (3-4):148-165.
    This article aims to enhance understanding of the changing nature of the pre-colonial, (neo)colonial and postcolonial imagination of space and time in Africa and of its organising principle in African cinema. It will focus on the cartographic and time reckoning techniques and traditions of Africans in precolonial times in contrast to the space-time imagination expressed in colonial film in Africa, such as in the instruction documentary Daybreak in Udi (1949). This documentary, which promotes British colonial self-help development projects in (...)
    Download  
     
    Export citation  
     
    Bookmark  
  29. Schefer, Jean-Louis. 2016. The Ordinary Man of Cinema[REVIEW]Ekin Erkan - 2020 - Comparative Cinema 8 (14):82-85.
    Book review of Jean-Louis Schefer's The Ordinary Man of Cinema (2016) with particular attention to Schefer's conception of affect and its influence on Deleuze.
    Download  
     
    Export citation  
     
    Bookmark  
  30. Portraits of Egoism in Classic Cinema I: Sympathetic Portrayals.Gary James Jason - 2014 - Reason Papers 36 (1).
    In this essay, I look at more or less sympathetic portrayals of egoists in film. I start by explaining some basic concepts: psychological egoism; ethical egoism; default egoism; rational egoism; egotism; cynicism; narcissism; and psychopathy. I then review in-depth two excellent WWII films, Stalag 17 and The Bridge on the River Kwai. I note that the key protagonist in both pictures is the same type of character—both played by the same fine actor, William Holden. The main protagonist in both is (...)
    Download  
     
    Export citation  
     
    Bookmark  
  31. Portraits of Egoism in Classic Cinema II: Negative Portrayals.Gary James Jason - 2015 - Reason Papers 37 (1).
    In this essay, I look at two negative portrayals of egoism. I summarize in detail the superb All About Eve—which won six Academy Awards, including Best Picture. The movie is about the rise of a ruthlessly ambitious actress, and how she treats her main competitor. Eve Harrington worms her way into top theatrical actress Margo Channing’s inner circle by pretending to be an admirer, but she is really a schemer who wants to eclipse Margo’s star in the theater universe. However, (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  32. Utilitarian & Marxist Feminism through Drama and Cinema.Baiju Anthony - manuscript
    Feminist theorists try to approach their philosophical perspectives from various systems. They approach it from the perspectives of liberalism, Marxism, radicalism, existentialism, postmodernism, etc. Whatever may be the system they use, their aim seems to be to divulge the oppressions undergone by the women. They use a method or adopt philosophical thinking so that they can spell out their cries in a philosophical manner. Using the philosophical systems does not mean that the philosopher who forwarded the system was aiming at (...)
    Download  
     
    Export citation  
     
    Bookmark  
  33. Heptapod B and the Metaphysics of Time – Hybrid Interfaces of Literature, Cinema and Science.Israel A. C. Noletto & Sebastião Alves Teixeira Lopes - unknown
    In this paper, we intend to promote an analysis of the use of the artificial language Heptapod B in Story of Your Life written by Ted Chiang and in its filmic adaptation, Arrival, written by Eric Heisserer and directed by Denis Villeneuve in relation to the authors’ views on the metaphysics of time. In both literary and filmic texts, the glossopoeia is used as a plot device upon which the alien race’s time perception is constructed and explicated in connexion with (...)
    Download  
     
    Export citation  
     
    Bookmark  
  34. Portraits of Egoism in Classic Cinema III: Nietzschean Portrayals.Gary James Jason - 2015 - Reason Papers 37 (2).
    In this essay, I look at two films as possible exemplars of the Nietzschean view of egoism. Compulsion is based on the infamous 1924 Leopold and Loeb murder case. In the movie, two arrogant young men—one of whom admires Nietzsche and preaches the (apparently Nietzschean) view that the strong and superior don’t need to follow conventional morality—kill a boy to prove they can outsmart the unter-menschen police. For a different take on what Nietzsche may have had in mind as “the (...)
    Download  
     
    Export citation  
     
    Bookmark  
  35. Music in narrative film. On motion and stasis : Photography, "moving pictures," music / David Neumeyer, Laura Neumeyer ; the topos of "evil medieval" in american horror film music / James deaville ; la leggenda Del pianista sull'oceano : Narration, music, and cinema / Rosa Stella cassotti ; music in Aki kaurismäki's film the match factory girl / Erkki pekkilä ; it's a little bit funny : Moulin rouge's sparkling postmodern critique.Susan Ingram - 2006 - In Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.), Music, Meaning and Media. University of Helsinki.
    Download  
     
    Export citation  
     
    Bookmark  
  36. Gilles Deleuze y el pensamiento del cinematógrafo / Gilles Deleuze and the Thouhgt of Cinema.Antonio Tudela Sancho - 2002 - Revista de Filosofía (Venezuela) 42:07-37.
    Resumen: Resulta incuestionable la importancia que el filósofo francés Gilles Deleuze otorga al cinematógrafo. Conforme a su teoría del conocimiento, si la filosofía "piensa" mediante conceptos, el cine "piensa" mediante imágenes: se trata de un medio de creación artística a la vez que de reflexión (distinta de otras formas de "escritura") acerca de los problemas de la condición humana. De hecho, afirmamos que el propio pensamiento de Deleuze guarda mucho en común con las técnicas cinematográficas, al igual que sucedería en (...)
    Download  
     
    Export citation  
     
    Bookmark  
  37. Women's Pictures: Feminism and Cinema.Annette Kuhn - 1982 - Routledge.
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  38. The Years of Permanent Midnight: The Liberalist Construction of the Philippine Nation in Cinema Under the US-Aquino Administration.Jeffrey Deyto - 2018 - Mabini Review 7:128-165.
    Download  
     
    Export citation  
     
    Bookmark  
  39. Beyond the Soundtrack: representing music in cinema[REVIEW]Carrie Giunta - 2011 - Historical Journal of Film, Radio and Television 30:132-133.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  40. Entra nei miei sogni. Recensione di G. Grossi, La notte dei simulacri. Sogno, cinema, realtà virtuale, Johan & Levy, Monza 2021. [REVIEW]Giulia Andreini - 2022 - Cinergie 22:207-209.
    Download  
     
    Export citation  
     
    Bookmark  
  41. Entra nei miei sogni. Recensione di G. Grossi, La notte dei simulacri. Sogno, cinema, realtà virtuale, Johan & Levy, Monza 2021. [REVIEW]Giulia Andreini - 2022 - Cinergie 22:207-209.
    Download  
     
    Export citation  
     
    Bookmark  
  42. Italian Neorealist and New Migrant films as dispositifs of alterity: How borgatari and popolane challenge the stereotypes of nationhood and womanhood?Marianna Charitonidou - 2023 - Studies in European Cinema 20 (1):58-81.
    The article explores the place of women and migrants in Italian Neorealist and New Migrant cinema, arguing that New Migrant cinema continues and reworks key Neorealist tropes and tendencies. It intends to render explicit how an ensemble of films challenge the stereotypes concerning gender, national and cultural identities. Among the figures that are scrutinized are the borgatari, extracomunitari, popolane and terrone. Its main objective is to demonstrate how the cinematic expression of these figures in Italian Neorealist and New (...)
    Download  
     
    Export citation  
     
    Bookmark  
  43. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark  
  44.  91
    Para além de Vigiar e Punir: o controle social do corpo e a recodificação da memória popular em filmes de horror.Alex Pereira de Araújo & Nilton Milanez - 2015 - Unidad Sociológica 4 (2):56-64.
    Este estudio se ocupa del control social del cuerpo y de la reconfiguración de la memoria popular en películas de horror a través de la perspectiva genealógica de Foucault, presentada en su libro Vigilar y Castigar, publicado hace 40 años. Por lo tanto, tomaremos, À l’interieur e Frontière (s), dos producciones de horror cinematográfico hechas por directores franceses, ambos publicados en 2007. La hipótesis principal es que las películas de terror se muestran como una nueva forma de vigilancia y control (...)
    Download  
     
    Export citation  
     
    Bookmark   7 citations  
  45. The Key.Victor Mota - manuscript
    cinematic proposition to the field of philosophical cinema and literature, in hommage to Henry-Lévi.
    Download  
     
    Export citation  
     
    Bookmark  
  46. Problemas en torno al retrato en el cine.David Vázquez Couto - 2021 - In Universitas: las artes ante el tiempo. Actas del XXIII Congreso Nacional de Historia del Arte. Salamanca, España: pp. 695-704.
    The analytical and mechanical register capacity of cinema seems to promise, finally, the authentic representation of man through his face. Taking as a reference the modern portrait, whose historical and theoretical conceptual and formal ambiguity is forged from the 15th century onwards within the limits of painting, we will try to approach the problem of portraiture in cinema taking into account the ontological specificities of the medium.
    Download  
     
    Export citation  
     
    Bookmark  
  47. “Os dentes afiados da Vida preferem a carne na mais tenra inf'ncia ”: Etnocartografar com olhos de besta.Marcos Ribeiro de Melo, Michele de Freitas Faria De Vasconcelos & Edson Augusto De Souza Neto - 2020 - Childhood and Philosophy 16 (36):01-28.
    in this article, we experience the exercise of a screen ethnocartography in agency with the film Beasts of the southern wild by the director Benh Zeitlin. We tested a film experimentation that led to a renewed writing ways of life. We bet on cinema and childhood as possibilities for creating cracks and a stutter of language for the creation of new worlds and ways of living. In cinema images less as a representation, and more as art that proposes (...)
    Download  
     
    Export citation  
     
    Bookmark  
  48. El espacio de la ficción es el tiempo del espectador: la reflexividad de la mirada a la cámara en 'Un verano con Mónica'.David Vázquez Couto - 2021 - Ars Longa. Cuadernos de Arte 30:309-323.
    Summer with Monika (Ingmar Bergman, 1952) was a point of reference for filmmakers searching new ways of filmmaking during the 1960s and 1970s because it anticipated the characteristic reflexivity of cinematic modernity because of the protagonist’s look at the camera. By unexpectedly bursting into the narrative, this gaze becomes a self-conscious strategy aimed at disarticulating not only the cinematic fiction, but also Monika’s fiction, which has symbolically appropriated the imaginary world projected by cinema.
    Download  
     
    Export citation  
     
    Bookmark  
  49. Accidents Made Permanent: Theater and Automatism in Stanley Cavell, Michael Fried, and Matías Piñeiro.Byron Davies - 2020 - Modern Language Notes 135 (5):1283-1314.
    This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version (...)
    Download  
     
    Export citation  
     
    Bookmark  
  50. Ценностная динамика символов успеха: на материале статистики кинопроката = Value Dynamics of Symbols of Success: Based on Film Distribution Statistics.Gennady Bakumenko - 2021 - Sam Poligrafist.Ltd..
    On the example of the analysis of the content of films-leaders of the box office box office, the value dynamics of the symbols of success is revealed as an objectively occurring sociocultural process in film communication. Cultural production and consumption are being rethought as the self-communication of society, which has sustainable trends. The connections of the sociocultural process of symbolizing success with communicative, semantic and semiotic processes have been studied. The specificity of the dialectical contradiction between sociocentric and personocentric symbols (...)
    Download  
     
    Export citation  
     
    Bookmark  
1 — 50 / 183