Results for 'Cinema'

126 found
Order:
See also
Bibliography: Cinema in Aesthetics
  1. 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  
  2. The Cinema of Poetry. [REVIEW]Maria Irene Aparicio - 2018 - Cinema - Journal of Philosophy and the Moving Image (10):183-188.
    Download  
     
    Export citation  
     
    Bookmark  
  3.  8
    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  
  4.  9
    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  
  5.  6
    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.  26
    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  
  7. 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  
  8. 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  
  9.  11
    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  
  10.  68
    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  
  11. 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  
  12. '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  
  13. 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  
  14. 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  
  15.  90
    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 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   7 citations  
  17. 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  
  18. 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  
  19. 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  
  20. Qu’Est-Ce Que le Cinéma?Eric Dufour - 2009 - Vrin.
    Ce livre cherche à mettre en évidence la spécificité du cinéma parmi les autres arts et à montrer en quoi il est une forme de pensée au même sens que la philosophie, mais qui passe par le biais des images. Il analyse le rapport de la dimension visuelle et de la dimension audio, et tente de caractériser, d’une part, ce qui caractérise la narration cinématographique et, d’autre part, en quel sens on peut parler d’un cinéma non narratif. Par là, il (...)
    Download  
     
    Export citation  
     
    Bookmark  
  21. 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  
  22. 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  
  23. 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  
  24. 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  
  25. 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  
  26. 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  
  27. Women's Pictures: Feminism and Cinema.Annette Kuhn - 1982 - Routledge & Kegan Paul.
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  28.  22
    The Key.Victor Mota - manuscript
    cinematic proposition to the field of philosophical cinema and literature, in hommage to Henry-Lévi.
    Download  
     
    Export citation  
     
    Bookmark  
  29.  2
    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  
  30. Ways of Seeing Films.Paulo Alexandre E. Castro - 2021 - Coimbra, Portugal: IEF.
    Contents Preface - ix -/- I. Scientific fiction movies: is there any place for God?! 1. A brief introduction about the birth of science fiction - 15 2. Religious beliefs vs Science Fiction - 18 3. Is there any place for God?! - 20 -/- II. The Village (M. Night Shyamalan) and The Giver (Phillip Noyce) or why utopia is (im)possible 1. Some utopian notions. Remembering Thomas More - 29 2. The Village and The Giver. Some remarks on ideal societies (...)
    Download  
     
    Export citation  
     
    Bookmark  
  31. 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  
  32.  72
    And the Ship Sails On. [REVIEW]Garin Dowd - 2014 - Radical Philosophy 184 (184):46-49.
    Extract: [...] Badiou himself seems however, by turns, relatively modest and occasionally self-congratulatory as regards any claim to make a major intervention in the field. His entertaining and informative account of his largely solitary cinéphilia of the 1950s and 1960s, as a ‘young provincial’ frequenting the Cinémathèque (a few doors away at that time from the École Normale Supérieure on the rue d’Ulm), through to his work as a ‘heathen’ iniltrating the Catholic journal Vin nouveau, and on to his engagement (...)
    Download  
     
    Export citation  
     
    Bookmark  
  33.  10
    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  
  34.  84
    “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  
  35.  26
    De la imagen-acción a la imagen-tiempo. Un análisis de Paterson, de Jim Jarmusch.Clara Zimmermann - 2018 - Aura, Revista de Historia y Teoría Del Arte 7:156-166.
    In the present study, I will consider the crisis of the movement image, and the emergence of a new type of image, namely, the time image. First, I will analyze certain basic concepts used by Deleuze (1925-1995) and by Bergson (1859- 1941) to understand the new type of image that emerges from an interruption of our natural perception, granting us -by separating ourselves from all our previous experiences- pure optical and sound perceptions. Secondly, I will trace the changes that, both (...)
    Download  
     
    Export citation  
     
    Bookmark  
  36. Medvedkine.Gavin Keeney - 2013 - eVolo 5 (Architecture Xenoculture):247-49.
    Chris Marker’s portrait of Alexandre Medvedkine in the 1993 film Le tombeau d’Alexandre/The Last Bolshevik is highly instructive of his own relationship to Soviet cinema. Most especially, this difficult or troubled rapport with the antecedents to cinéma vérité in the West (and its protean formal properties, in terms of structure and often satirical-critical commentary) comes forth in the figures he assembles to comment upon Medvedkine’s life work. When Medvedkine’s Scast’e (Le Bonheur/Happiness) (1934) leaked to the West (c.1967), sent like (...)
    Download  
     
    Export citation  
     
    Bookmark  
  37. Jacques Derrida y los fantasmas del cinematógrafo.Antonio Tudela-Sancho - 2003 - Revista de Filosofía (Madrid) 45 (3):137-166.
    Leyendo algunos textos «marginales» de Jacques Derrida, especialmente en sus últimos trabajos, desde la perspectiva de las relaciones entre la experiencia biográfica y los intereses filosóficos, este ensayo trata, por un lado, de las reflexiones del filósofo acerca del cine como un desarrollo de la tradición contemporánea fundada muy particularmente por Walter Benjamin y Hugo von Hofmannsthal; y por otro, el artículo se centra en el «fantasma» o «espectro»: un concepto básico a la par que clásico tanto del cinematógrafo como (...)
    Download  
     
    Export citation  
     
    Bookmark  
  38.  67
    The Post-Cinematic Gesture: Redhack.Ekin Erkan - 2020 - Zapruder World 6.
    Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, the (...)
    Download  
     
    Export citation  
     
    Bookmark  
  39. The Generic Unmasked: Reproducibility and Profanation.Ekin Erkan - 2019 - Triple Ampersand 8:5.
    Walter Benjamin’s oft-quoted 1936 essay “The Work of Art in the Age of Its Technological Reproducibility” advances the claim that, for the first time in history, the “function” of the work of art is political, as evidenced by cinema. For Benjamin, film is the “first art form whose artistic character is entirely determined by its reproducibility” and Giorgio Agamben, a contemporary Benjaminian philosopher, further elucidates this “function,” positing that cinema essentially ranks with ethics and politics, not solely with (...)
    Download  
     
    Export citation  
     
    Bookmark  
  40. Cryptophasia and the Question of Database.Ekin Erkan - 2019 - Triple Ampersand:1-29.
    Over the last thirty years, once staunchly historical cinema scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, and André Gaudreault have abandoned history for historiography and film studies for media archaeology. With increasing attention on the “database” as a symbolic metaphor for postmodernity and the decentered, networked tenants of the global present, cinema is taking on the characteristics of new media, existing in intertextual space. Thus, the term “post-cinema” has been co-opted as a viable intermediary that (...)
    Download  
     
    Export citation  
     
    Bookmark  
  41.  45
    Appealing, Appalling: Morality and Revenge in I Spit on Your Grave (2010).Steve Jones - 2022 - Quarterly Review of Film and Video:1-25.
    Despite being a prevalent theme in popular cinema, revenge has received little dedicated attention within film studies. The majority of research concerning the concept of revenge is located within moral philosophy, but that body of literature has been overlooked by film studies scholars. Philosophers routinely draw on filmic examples to illustrate their discussions of revenge, but those interpretations are commonly hindered by their authors’ inexperience with film studies’ analytical methods. This article seeks to bridge those gaps. The 2010 remake (...)
    Download  
     
    Export citation  
     
    Bookmark  
  42. Retrato e fisionomia do Mundo em "Cristóvão Colombo, o enigma".Maria Irene Aparicio - 2017 - Journal of Lusophone Studies 2 (1):76-91.
    This article considers how Portuguese cinema questions the possibility of any cinematic representation of national identity. By exposing the subjective mechanisms and the artistic construction of Manoel de Oliveira's Cristóvão Colombo, o enigma (2007), I argue that the film serves as a portrait despite being an affective landscape—what John Caspar Lavater has referred to as a physiognomic. Oliveira achieves this through the atemporal depiction of his own experience of the facts and fictions of Portuguese history. I also examine the (...)
    Download  
     
    Export citation  
     
    Bookmark  
  43.  53
    Символизация успеха в современном кинематографе.Gennady Bakumenko - 2018 - Dissertation, Armavir State Pedagogical University
    The set of symbols of success is a set of cultural determinants of activity and their functioning is connected with the fundamental functions of culture as a system of historically developing supra-biological programs of life. The relevance of considering the symbolization of success in modern cinema is due to several factors. First, according to the majority of art historians and film theorists, cinema remains the leading, most widespread form of art throughout the 20th and 21st centuries. If we (...)
    Download  
     
    Export citation  
     
    Bookmark  
  44. 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  
  45. Film Theory After Copjec.Anthony Ballas - 2021 - Canadian Review of American Studies 1 (51):63-82.
    The importation of Lacanian psychoanalysis into film theory in the 1970s and 1980s ushered in a new era of cinema scholarship and criticism. Figures including Raymond Bellour, Laura Mulvey, and Christian Metz are often considered the pioneers of applying Lacanian psychoanalysis in the context of film theory, most notably through their writings in Screen Journal. However, where French and British scholarship on Lacan and film reached its limits, American Lacanianism flourished. When Joan Copjec’s now classic essay “The Orthopsychic Subject: (...)
    Download  
     
    Export citation  
     
    Bookmark  
  46.  71
    L'immagine-inazione. Lo spazio e il tempo nel passaggio dall'image-mouvement all'image-temps in Gilles Deleuze.Fabio Vergine - 2019 - In Enrico Giannetto (ed.), La memoria del cielo. Catania CT, Italia: pp. 1-18.
    Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e sonora pura. (...)
    Download  
     
    Export citation  
     
    Bookmark  
  47. Filme Noir Uma Compreensão Filosófica.Fábio Calza - manuscript
    Há muito tempo, o filme noir americano tem sido objeto de estudos críticos, que buscam decifrar a sua estética enigmática e a mensagem desafiadora. Trilhando sobre o lado mais negativo da vida humana, a questão central que ele propõe é: o que o noir representa, como forma singular de arte cinematográfica? Ora, compreender o filme noir passa pela necessidade de vê-lo no âmbito da matriz histórica de produção que lhe serviu de berço. Essa matriz é o chamado cinema clássico (...)
    Download  
     
    Export citation  
     
    Bookmark  
  48. Nature Screened: An Eco-Film-Phenomenology.Ilan Safit - 2014 - Environmental Philosophy 11 (2):211-235.
    Do cinematic representations of the natural world only put us in further remove from nature? A phenomenological approach shows that nature screened can produce a richer understanding of human–nature relations as these unfold in visual contact. If vision accesses the world in a unique relationship of sight, in which our contact with the world is defined by vision prior to any other interaction, the cinema offers a special setting for a phenomenology that seeks to draw-out the significance of human (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  49.  93
    The Port City’s ‘Cine-Scapes’.Asma Mehan - 2020 - The Port City Futures Blog.
    Cinema acts as a significant mediator between urban reality and the imaginary sensory experience of the fictive world. Viewing the city through the lens of a camera enables us to build new narratives. Films have captured port cities within the flows of, goods, people, and ideas, making them ever-present in shared memories, historical narratives, and urban nostalgia. Cultural production plays a role in the on-going construction of local port cultures, whether films, festivals, music, literature, theater, advertisements, or events. Telling (...)
    Download  
     
    Export citation  
     
    Bookmark  
  50. المرأة المغربية كموضوع بصري في سوسيولوجيا السينما: محاولة نقدية لتأسيس معرفة تتجاوز النقد الجمالي.حمزة الأندلوسي - 2022 - مجلة جيل العلوم الإنسانية والاجتماعية 9 (82):127-145.
    نَرُومُ من خلال هذه الدراسة استقراء ما تُتِيحُه البيبليوغرافيا البحثية حول موضوع أفلام المرأة وقضايا الجندر في السينما، إذ سَنَعْمَدُ على تحليل الدراسات المتوفِّرة بشكل نقدي، وذلك بغية الوقوف على حدود ما كُتب حول الموضوع. والحال أن مراجعاتنا النقدية قد قادتنا إلى الخروج باستنتاج مفاده أن حقل الدراسات السينمائية في العالم العربي عامةً والمغرب خاصةً لا يزال يُعاني من شُحٍّ على مستوى الكم، فقلة قليلة هم الباحثون في العلوم الإنسانية الذين يهتمون بموضوع السينما والثقافة البصرية، وظواهرها المركبة، التي تلتقي فيها (...)
    Download  
     
    Export citation  
     
    Bookmark  
1 — 50 / 126