Results for 'Cinema studies'

999 found
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  1.  58
    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 (...)
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  2. 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 (...)
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  3.  94
    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.
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  4.  26
    The Art of Living with NZT and ICT: Dialectics of an Artistic Case Study.Hub Zwart - 2017 - Foundations of Science 22 (2):353-356.
    I wholeheartedly sympathize conceptually with Coeckelbergh’s paper. The dialectical relationship between vulnerability and technology constitutes the core of Hegel’s Master and Slave. Yet, the empirical dimension is underdeveloped and Coeckelbergh’s ideas could profit from exposure to case studies. Building on a movie/novel devoted to vulnerability coping and living with ICT, I challenge the claim that modern heroism entails overcoming vulnerability with the help of enhancement and computers.
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  5.  83
    Learning From COVID-19: Virtue Ethics, Pandemics and Environmental Degradation: A Case Study Reading of The Andromeda Strain (1971) and Contagion (2011).Fiachra O'Brolcháin & Pat Brereton - 2021 - Journal of Science Fiction and Philosophy 4.
    This paper uses virtue ethics to discuss the COVID-19 outbreak, Hollywood science-fiction/pandemic films, and the environmental crisis. We outline the ideas of hubris and nemesis and argue that responding to the COVID-19 pandemic requires that we develop virtues. We will explore these ethical issues through an eco-reading (Hiltner 2018) of two popular films cinematic representation of pandemics, The Andromeda Strain (1971) and Contagion (2011). Fictional narratives are particularly adept at celebrating the moral and intellectual virtues of individuals (as is standard (...)
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  6. 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: (...)
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  7.  32
    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 (...)
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  8. 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 (...)
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  9.  4
    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 (...)
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  10.  32
    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, (...)
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  11. 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 (...)
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  12.  9
    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 (...)
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  13. 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 (...)
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  14.  40
    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. (...)
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  15.  34
    A Film-Philosophy of Ecology and Enlightenment. [REVIEW]Maria Irene Aparicio - 2020 - Cinema Journal of Philosophy and the Moving Image (12):217-221.
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  16. 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 (...)
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  17. The Conditions of the Question: What Is Philosophy?Gilles Deleuze, Daniel W. Smith & Arnold I. Davidson - 1991 - Critical Inquiry 17 (3):471-478.
    Perhaps the question “What is philosophy?” can only be posed late in life, when old age has come, and with it the time to speak in concrete terms. It is a question one poses when one no longer has anything to ask for, but its consequences can be considerable. One was asking the question before, one never ceased asking it, but it was too artificial, too abstract; one expounded and dominated the question, more than being grabbed by it. There are (...)
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  18. Sensuous Presencing and Artistic Creation: The Aesthetic Legacy of Merleau-Ponty’s Thought [on Emmanuel Alloa & Adnen Jdey, Du Sensible À L'Oeuvre. Esthétiques de Merleau-Ponty, 2012]. [REVIEW]Véronique M. Fóti - 2014 - Comparative and Continental Philosophy 6 (2):203-210.
    While the French phenomenologist Maurice Merleau-Ponty remained engaged with artistic creation throughout his entire work, which continues to inspire artists today in manifold ways, no systematic and artistically inclusive study of this dimension of his thought has existed so far. Du sensible à l’œuvre fills this gap by offering not only an in-depth study of Merleau-Ponty’s aesthesiology and aesthetics by international Merleau-Ponty scholars spanning three generations, but also a rich selection of essays by art critics and theorists who assess the (...)
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  19. La figura della madre nei romanzi di Moravia e nelle trasposizioni cinematografiche. La madre autoritaria de La Noia tra Moravia e Damiano Damiani.Luca Corchia - 2015 - The Lab’s Quarterly 16 (4):37-67.
    Il breve saggio si propone di esaminare la centralità della figura materna nell’opera di un ingegnoso costruttore di storie della letteratura italiana del Novecento: Alberto Moravia. La scelta dell’Autore nasce dalla rilevanza della tematica nella sua opera, in cui peraltro è quasi sempre assente il punto di vista femminile delle “voci” delle donne. Ciò sembra paradossale e questa circostanza è di grande interesse critico. In particolare, a dispetto delle interpretazioni più canoniche, secondo cui Moravia – negli scritti realizzati tra il (...)
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  20.  79
    Film About Cape Town is Being Used to Raise Awareness, and to Ask Wider Questions. [REVIEW]Asma Mehan - 2019 - The Conversation (Africa).
    Academics have increasingly used video and other electronic methods to collect data and capture reflections from participants. But, until recently, it’s been less common to use film as way of disseminating the results of research. That’s beginning to change. Film can be a powerful way to share research findings with a broad audience. This is particularly true when academics are combining) the traditions of ethnography, documentary filmmaking, and storytelling. -/- Film and cinema are increasingly being used in environmental humanities (...)
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  21. The Post-Human Media Semblance: Predictive Catastrophism.Ekin Erkan - 2020 - Rhizomes: Cultural Studies in Emerging Knowledge 36.
    Since the advent of media archeology, a deep-seated bifurcation has found one end of the field arguing for the interventionist and appropriative weaponization of media whereas the other side has championed a “total war” with technology itself, insisting that new media’s military-industrial roots inherently color its drivability. Here, I implore a moment within the cultural history of net.art and post-internet art to examine how contemporaneous queries about control after militarism and decentralization, as prognosticated by Paul Virilio and Gilles Deleuze, are (...)
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  22. C. S. Peirce's Phaneroscopy as Early Communicology.Rafael Duarte Oliveira Venancio - 2017 - Santalka: Filosofija, Komunikacija 25 (1):26-37.
    This article aims to show that the contribution of Charles Sanders Peirce to communicology is much earlier than the advent of epistemological integration of semiotics in communication studies, being phaneroscopy as a early form of communicology. This reflection is based on the study of the categorical degeneration theorized by Peirce, his influence on communicational thinking (especially on Gilles Deleuze’s cinema theory), as well as the conceptual link between degeneration and phenomenon from the philosophical point of view of quaternions.
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  23.  91
    The Specter of the Electronic Screen: Bruno Varela's Reception of Stanley Cavell.Byron Davies - 2021 - In David LaRocca (ed.), Movies with Stanley Cavell in Mind. London, UK: pp. 72-90.
    An analysis of some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela via the latter’s reading of the late U.S. philosopher Stanley Cavell, especially Cavell’s 1982 essay “The Fact of Television.” This essay focuses on the aesthetic possibilities of the very constitution of the electronic image, based in Cavell’s understanding of television’s dependence on notions of “switching,” as opposed to “succession,” as well as how those notions play a role in Varela’s understanding of what it is (...)
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  24. 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 (...)
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  25.  12
    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 (...)
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  26. 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.
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  27. Desired Machines: Cinema and the World in Its Own Image.Jimena Canales - 2011 - Science in Context 24 (3):329-359.
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  28.  35
    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 (...)
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  29. The Cinema of Poetry. [REVIEW]Maria Irene Aparicio - 2018 - Cinema - Journal of Philosophy and the Moving Image (10):183-188.
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  30.  88
    Same Old New German Cinema, on Julia Knight's New German Cinema: Images of a Generation.Amresh Sinha - 2005 - Film-Philosophy 9 (2).
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  31. '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 (...)
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  32.  88
    Кіно у творчості Василя Герасим’юка.Myroslav Laiuk - 2018 - NaUKMA Researh Papers. Literary Studies 1:70-73.
    У статті досліджено роль кіно у творчості Василя Герасим’юка. Простежено особливості використання кінематографічних прийомів, проаналізовано цитування кінокласики, розкрито значення постаті І. Миколайчука у текстах В. Герасим’юка. Розглянуто вплив «поетичного кіно» і особливо стрічки «Тіні забутих предків» на формування «карпатського тексту» поета.
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  33.  72
    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.
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  34.  33
    Case Study on Sri Lankan REM- “How Product Quality Can Enhance the Purchasing Behavior of Real Estate Industry”.Md Majidul Haque Bhuiyan - forthcoming - Https://Www.Researchgate.Net/Publication/357286156_Case_Study-_SRI_LANKA-_HOW_PRODUCT_QUALITY_CAN_EN HANCE_THE_PURCHASING_BEHAVIOR_OF_REAL_ESTATE_INDUSTRY/.
    The most trending behavioral approach of mass people nowadays hovers to acquire a specific area to live on for their mental satisfaction. It is the person registered home to live on the next days of life. This issue has firmly increased due to the rapid and mostly uncontrolled increase of population within most of the countries. Now that, it is the conscious craving for men to settle up for a property that has the highest credential service and maintenance ease possibility; (...)
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  35. The Case Study Method in Philosophy of Science: An Empirical Study.Moti Mizrahi - 2020 - Perspectives on Science 28 (1):63-88.
    There is an ongoing methodological debate in philosophy of science concerning the use of case studies as evidence for and/or against theories about science. In this paper, I aim to make a contribution to this debate by taking an empirical approach. I present the results of a systematic survey of the PhilSci-Archive, which suggest that a sizeable proportion of papers in philosophy of science contain appeals to case studies, as indicated by the occurrence of the indicator words “case (...)
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  36. 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 (...)
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  37. Parts: A Study in Ontology.Peter M. Simons - 1987 - Oxford, England: Oxford University Press.
    Although the relationship of part to whole is one of the most fundamental there is, this is the first full-length study of this key concept. Showing that mereology, or the formal theory of part and whole, is essential to ontology, Simons surveys and critiques previous theories--especially the standard extensional view--and proposes a new account that encompasses both temporal and modal considerations. Simons's revised theory not only allows him to offer fresh solutions to long-standing problems, but also has far-reaching consequences for (...)
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  38. 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 (...)
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  39. Why Study Movement Variability in Autism?Maria Brincker & Elizabeth Torres - 2017 - In Elizabeth Torres & Caroline Whyatt (eds.), Autism the movement-sensing approach. CRC Press - Taylor & Francis Group.
    Autism has been defined as a disorder of social cognition, interaction and communication where ritualistic, repetitive behaviors are commonly observed. But how should we understand the behavioral and cognitive differences that have been the main focus of so much autism research? Can high-level cognitive processes and behaviors be identified as the core issues people with autism face, or do these characteristics perhaps often rather reflect individual attempts to cope with underlying physiological issues? Much research presented in this volume will point (...)
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  40. 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, (...)
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  41. Studying While Black: Trust, Opportunity and Disrespect.Sally Haslanger - 2014 - Du Bois Review: Social Science Research on Race 11 (1):109-136.
    How should we explore the relationship between race and educational opportunity? One approach to the Black-White achievement gap explores how race and class cause disparities in access and opportunity. In this paper, I consider how education contributes to the creation of race. Considering examples of classroom micropolitics, I argue that breakdowns of trust and trustworthiness between teachers and students can cause substantial disadvantages and, in the contemporary United States, this happens along racial lines. Some of the disadvantages are academic: high (...)
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  42. Beyond the Soundtrack: Representing Music in Cinema[REVIEW]Carrie Giunta - 2011 - Historical Journal of Film, Radio and Television 30:132-133.
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  43. 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 (...)
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  44. Axiological Futurism: The Systematic Study of the Future of Values.John Danaher - forthcoming - Futures.
    Human values seem to vary across time and space. What implications does this have for the future of human value? Will our human and (perhaps) post-human offspring have very different values from our own? Can we study the future of human values in an insightful and systematic way? This article makes three contributions to the debate about the future of human values. First, it argues that the systematic study of future values is both necessary in and of itself and an (...)
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  45. Why Study History? On Its Epistemic Benefits and Its Relation to the Sciences.Stephen R. Grimm - 2017 - Philosophy 92 (3):399-420.
    I try to return the focus of the philosophy of history to the nature of understanding, with a particular emphasis on Louis Mink’s project of exploring how historical understanding compares to the understanding we find in the natural sciences. On the whole, I come to a conclusion that Mink almost certainly would not have liked: that the understanding offered by history has a very similar epistemic profile to the understanding offered by the sciences, a similarity that stems from the fact (...)
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  46. Critical Studies: Robin le Poidevin, (Ed.) Questions of Time and Tense.Ned Markosian - 2001 - Noûs 35 (4):616–629.
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  47. Critical Study of Robin Lepoidevin (Ed.), Questions of Time and Tense.Ned Markosian - 2001 - Noûs 35 (4):616-629.
    Some people think that pastness, presentness and futurity (and their metric variants, such as being two days past) are genuine propeties of times and events. These putative properties are sometimes called “A properties” and the philosopers who believe in them are often called “A Theorists.” Other philosophers don’t believe in the reality of A properties, but instead say that talk that appears to be about such properties is really about “B relations” – two-place temporal relations like earlier than, simultaneous with, (...)
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  48. The Dilemma of Case Studies Resolved: The Virtues of Using Case Studies in the History and Philosophy of Science.Richard M. Burian - 2001 - Perspectives on Science 9 (4):383-404.
    Philosophers of science turned to historical case studies in part in response to Thomas Kuhn's insistence that such studies can transform the philosophy of science. In this issue Joseph Pitt argues that the power of case studies to instruct us about scientific methodology and epistemology depends on prior philosophical commitments, without which case studies are not philosophically useful. Here I reply to Pitt, demonstrating that case studies, properly deployed, illustrate styles of scientific work and modes (...)
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  49. Understanding Scientific Study Via Process Modeling.Robert W. P. Luk - 2010 - Foundations of Science 15 (1):49-78.
    This paper argues that scientific studies distinguish themselves from other studies by a combination of their processes, their (knowledge) elements and the roles of these elements. This is supported by constructing a process model. An illustrative example based on Newtonian mechanics shows how scientific knowledge is structured according to the process model. To distinguish scientific studies from research and scientific research, two additional process models are built for such processes. We apply these process models: (1) to argue (...)
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  50. 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.
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