Results for 'film'

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  1. Film and Propaganda: The Lessons of the Nazi Film Industry.Gary James Jason - 2013 - Reason Papers 35 (1):203-219.
    This essay is my review of Erwin Leiser’s excellent documentary film Germany Awake. This classic film first aired in Germany in 1968, and remains to this day one of the best surveys of major Nazi-era movies and exactly what messages they were meant to convey. The film underscores the emphasis the regime put on film as one of the premier mechanisms of propaganda, though Leiser’s film points out that most of the cinema produced by the (...)
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  2. Realism in Film (and Other Representations).Robert Hopkins - 2016 - In Katherine Thomson-Jones (ed.), Current Controversies in the Philosophy of Film. Routledge.
    What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper (...)
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  3. Film as Thought Experiment: A Happy-Go-Lucky Case?Basileios Kroustallis - 2012 - Film-Philosophy 16 (1):72-84.
    Can some films be genuine thought experiments that challenge our commonsense intuitions? Certain filmic narratives and their mise-en-scène details reveal rigorous reasoning and counterintuitive outcomes on philosophical issues, such as skepticism or personal identity. But this philosophical façade may hide a mundane concern for entertainment. Unfamiliar narratives drive spectator entertainment, and every novel cinematic situation could be easily explained as part of a process that lacks motives of philosophical elucidation. -/- The paper inverses the above objection, and proposes that when (...)
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  4. Can Films Philosophize? The Rationality and Imposition Objections.Diana Neiva - 2018 - Dialectic Journal 12 (I):22-29.
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  5. The Philosophy of Film and Film as Philosophy.Tom McClelland - 2011 - Cinema 2:11-35.
    This paper explores the idea that popular narrative film can somehow contribute to our philosophical understanding. I identify a number of problems with this 'film as philosophy' thesis and argue that the capacity of film to contribute to philosophy is not as great as many authors think. Specifically, I argue that film can only offer genuinely distinctive insights into philosophical questions *about film* and explore Hitchcock's Rear Window as an example of this.
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  6. Aesthetics and Film. By Katherine Thomson‐Jones. [REVIEW]Jennifer A. Mcmahon - 2012 - Philosophical Quarterly 62 (249):865-867.
    Each chapter covers one topic and largely consists of brief summaries of arguments for and against various themes. The topic of the first chapter is whether and on what basis a film can be considered art. Photography is used as an analogy. The arguments range from considering the mechanical form of cinema as an obstacle to arthood to arguments considering cinema’s mechanical nature as essential to its arthood; the former by those who ground art in human agency, the latter (...)
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  7. Are There Definite Objections to Film as Philosophy? Metaphilosophical Considerations.Diana Neiva - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. Nova Iorque, NY, Estados Unidos: pp. 116-134.
    The “film as philosophy” (FAP) hypothesis turned into a field if its own right during the 2000s, after S. Mulhall’s On Film (2001). In this work, Mulhall defended that some films philosophize for themselves. This caused controversy. Around the same time of On Film’s release, B. Russell published the article “The philosophical limits of film” (2000). This article had one of the first attacks against FAP, posing some main objections based on metaphilosophical grounds, which were called (...)
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  8. The Wartenberg-Smith Film as Philosophy Debate: Review of Current Controversies in Philosophy of Film[REVIEW]Diana Neiva - 2019 - American Society for Aesthetics Graduate E-Journal 11 (1):1-13.
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  9. Undoing the Image: Film Theory and Psychoanalysis.Paula Quigley - 2011 - Film-Philosophy 15 (1):13-32.
    The primary aim of this article is to point up an essential attitude, an anxiety even, that has inflected – and perhaps inhibited - our engagement with film. Film theory has been marked by a ‘refusal to see, a looking away’ (Mulvey & Wollen 1976, 36), and my suggestion is that this has achieved its fullest expression in those strands of film theory heavily influenced by psychoanalysis. These, in turn, have remained within a gendered conceptual framework whereby (...)
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  10. Conventions of Viewpoint Coherence in Film.Samuel Cumming, Gabriel Greenberg & Rory Kelly - 2017 - Philosophers' Imprint 17.
    This paper examines the interplay of semantics and pragmatics within the domain of film. Films are made up of individual shots strung together in sequences over time. Though each shot is disconnected from the next, combinations of shots still convey coherent stories that take place in continuous space and time. How is this possible? The semantic view of film holds that film coherence is achieved in part through a kind of film language, a set of conventions (...)
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  11. 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 (...)
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  12.  78
    Real Film.Reid Perkins-Buzo - 2007 - Semiotics:142-158.
    Recent work by Ian Aitken and others has sought to re-establish a "Realist approach" to the documentary film in reaction to the postmodernist, pragmatist approach popular in the 1970s and 80s. The Saussurian/Lacanian orientation o f the semiotics that played a large role in the older film theory is rejected and replaced by an analytic theory of representation based on the work of Mary Hesse, Hilary Putnam and W.V.O. Quine. Although this may seem a setback vis-a-vis semiotics, it (...)
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  13. 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 hollywoodiano, (...)
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  14.  74
    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 (...)
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  15. Film and Distortions in the Communication of Tiv Folklore in Benue State, Nigeria.Stanislaus Iyorza - 2018 - Federal University of Oye-Ekiti (FUOYE) Journal of Communication 2.
    The objective of this paper is to authenticate the perception of distortions in the communication of Tiv folklores in movies produced in Benue State. The paper assumes that film has the capacity to communicate societal beliefs but certain distortions can challenge the effective communication of such cultural values. The paper adopts a qualitative method using oral interviews to elicit information from ten participants including five (5) movie producers in the Benue movie industry. Folklore and mythically based movies produced in (...)
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  16. Nigerian Film Industry in the Mirror of African Movie Academy Awards (AMAA).Stanislaus Iyorza - 2016 - Journal of Arts and Humanities 5 (9).
    Worried by the drastic decline in the quality of content of Nigerian movies as evaluated by critics, this paper analyzes the evaluation of Nigerian movies by the African Movie Academy Awards (AMAA) between 2006 and 2016. The objective is to review the decisions of the AMAA jury and to present the academy’s position on the prospects and deficiencies of the Nigerian Movie industry. The paper employs analytical research approach using both primary and secondary sources to explore assessed contents of the (...)
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  17.  54
    Movie Review Of: (TV Series) "Route 66".Jason Gary James - 2010 - Liberty (July 2010):50-52.
    This essay is my review of the classic TV series, Route 66. It was a classic “buddy movie,” with two young men who tour the country in a gorgeous 1956 Chevy Corvette, staying in various towns and working at various blue-collar jobs. The acting was generally superb, and the scripts were mainly written by the fine script writer Stirling Silliphant, and produced by the famous producer Herbert Leonard. I suggest that this 50-year-old series tells us a lot about cultural change (...)
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  18.  62
    Movie Review Of: The Artist.Gary James Jason - 2012 - Liberty 1.
    In this essay, I review a French-American gem of a movie, The Artist. This movie was an homage to the silent film era and is itself almost all silent. I discuss both the artistic and financial success of silent movies, and I praise this film for successfully interesting modern theater-goers despite its almost total lack of sound. The film won five Academy Awards, including Best Picture, Best Director, and—for its outstanding lead actor, Jean Dujardin—Best Actor. It is (...)
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  19. Filming Dance: Embodied Syntax in Sasha Waltz' S.Helen A. Fielding - 2015 - Paragraph 38 (1):69-85.
    This paper brings Merleau-Ponty’s phenomenological approach to Sasha Waltz’s dance film S, which focuses on the relation between sexuality and language. Maintaining that movement in cinema takes place in the viewers and not the film, the paper considers how the visual can be deepened to include the ways we move and are moved. Saussure’s insights into language are brought to the sensible, which is here understood in terms of divergences from norms. Though film would seem to privilege (...)
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  20. Getting Carried Away: Evaluating the Emotional Influence of Fiction Film.Stacie Friend - 2010 - Midwest Studies in Philosophy 34 (1):77-105.
    It is widely taken for granted that fictions, including both literature and film,influence our attitudes toward real people, events, and situations. Philosopherswho defend claims about the cognitive value of fiction view this influence in apositive light, while others worry about the potential moral danger of fiction.Marketers hope that visual and aural references to their products in movies willhave an effect on people’s buying patterns. Psychologists study the persuasiveimpact of media. Educational books and films are created in the hopes of (...)
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  21.  25
    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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  22.  41
    Le film Solaris, réalisé par Andrei Tarkovski.Nicolae Sfetcu - manuscript
    Le film est un drame psychologique se déroulant à bord d'une station spatiale en orbite autour de la planète Solaris. Les trois membres de l'équipage ont des problèmes psychologiques. Le psychologue Kris Kelvin est envoyé là pour évaluer la situation, mais il fait face aux mêmes phénomènes mystérieux que les autres. Pour Tarkovsky, le conflit existentiel exposé par Lem n'était que le point de départ du développement de la vie intérieure des personnages. DOI: 10.13140/RG.2.2.11405.49129.
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  23. Can Film Be A Philosophical Medium?David Davies - 2008 - Postgraduate Journal of Aesthetics 5 (2):1-20.
    A recent panel at the annual meetings of the American Society for Aesthetics had the title “Can films philosophize?” The answer is, obviously, no, if we take this question literally. But books can’t philosophize either, in this sense. People philosophize, and they generally use natural language as the medium in which they carry out this activity. So our question is, can film serve as a philosophical medium in the ways, or in some of the ways, that language does? To (...)
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  24.  25
    Movie Review Of: The Cartel.Gary James Jason - 2010 - Liberty:44-45.
    This essay is my review of Bob Bowden’s excellent documentary The Cartel. It is a powerful indictment of public schools and public school teachers’ unions. In a crucial part of the film, we see minority parents at a charter school lottery. Charter schools, like voucher private schools, give parents school choice—although charter schools are public schools technically, but run fairly independently. They are so popular, and the school districts allow so few of them, that parents must apply by lottery (...)
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  25.  63
    Movie Review Of: Temple Grandin.Gary James Jason - 2011 - Liberty 1.
    In this essay, I review an extraordinary bio flick, Temple Grandin. Temple Grandin is a professor of animal science, and to achieve her distinguished career she had to deal with her autism. The film explores what it is to suffer this disease, but it also explores her extraordinary work involving making slaughterhouses more humane.
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  26.  26
    Movie Review Of: Good.Gary James Jason - 2010 - Liberty 11.
    In this essay, I review the movie Good. Good tells the story of the moral corruption of its protagonist, a writer, who is seduced by blandishments and material rewards given to him by the Nazi regime. It is a nice illustration of corruption—the degradation of character wrought by the desire for wealth and fame—what Aristotle would call “pleonexia.”.
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  27.  41
    Movie Review of Cool It.Gary James Jason - 2010 - Liberty 11.
    This essay is my review of Bjorn Lomborg’s delightful documentary film Cool It. Lomborg believes that there is indeed anthropogenic global warming, but that it doesn’t constitute the grave and imminent threat to humanity that people such as Al Gore think it does. The focus of the documentary is the refutation of Al Gore’s award-winning film (An Inconvenient Truth). But Lomborg also puts the focus on how best to use scarce resources to help humanity.
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  28.  33
    Film as Phantasm: Dogville’s Cinematic Re-Evaluation of Values.Rebecca Longtin - 2019 - In The Films of Lars von Trier and Philosophy: Provocations and Engagements. London, UK: pp. 19 - 35.
    This paper interprets von Trier’s Dogville as a suspension of belief that provokes a re-evaluation of contemporary moral values. Reading Dogville through the Stoic concept of phantasms and Nietzsche’s perspectivism, I analyze the plot and visual techniques as revealing how we form, evaluate, and re-evaluate our beliefs based on changing impressions and shifting perspectives. The philosophy of the Stoics and Nietzsche and the visual techniques of Dogville demonstrate that the recognition of the artificiality of appearances serves a moral purpose by (...)
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  29. At Home in and Beyond Our Skin: Posthuman Embodiment in Film and Television.Joel Krueger - 2015 - In Hauskeller Michael, Carbonell Curtis D. & Philbeck Thomas D. (eds.), Handbook of Posthumanism in Film and Television. Palgrave-Macmillan. pp. 172-181.
    Film and television portrayals of posthuman cyborgs melding biology and technology, simultaneously “animal and machine” abound. Most of us immediately think of iconic characters like Arnold Schwarzenegger’s relentless cyborg assassin in the Terminator series or Peter Weller’s crime-fighting cyborg police officer in Robocop (1987). Or perhaps we recall the many cyborgs populating the Dr. Who, Star Trek, and Star Wars television series and films—including Darth Vader, surely the most famous cinematic cyborg of all time. But lesser-known explorations of cybernetic (...)
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  30. Le film Solaris, réalisé par Andrei Tarkovski - Aspects psychologiques et philosophiques.Nicolae Sfetcu - 2020 - Drobeta Turnu Severin: MultiMedia Publishing.
    Les principaux aspects psychologiques et philosophiques détachés du film Solaris réalisé par Andrei Tarkovski, ainsi que les techniques cinématographiques utilisées par le réalisateur pour transmettre ses messages aux spectateurs. Dans « Introduction », je présente brièvement les éléments pertinents de la biographie de Tarkovski et un aperçu du roman Solaris de Stanislav Lem et du film Solaris réalisé par Andrei Tarkovsky. Dans « Technique cinématographique », je parle du rythme spécifique des scènes, du mouvement radical déclenché par Tarkovski (...)
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  31. 电影感知研究的历史发展及未来(Film Perceptive and Cognitive development: Past, Present, and Future).Lingfei Luan - 2018 - Journal of Beijing Film Academy 3:98-104.
    电影感知研究,是欧美近20年来兴起的跨学科实证研究。电影感知研究主要以心 理学的感知科学为基础,并且结合电影学、传播学、计算机科学、统计学等学科, 以实证的方法探讨电影的构建与观众解读机制之间的联系。文章通过对电影感知研 究历史的梳理和总结,探讨了传统电影研究中忽略的问题,讨论了电影感知研究的 学科性质和应用前景。 .
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  32. Music as a source of emotion in film.Annabel J. Cohen - 2011 - In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press.
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  33. Self-Reflection: Beyond Conventional Fiction Film Engagement.Margrethe Bruun Vaage - 2009 - Nordicom Review 30:159-178.
    Idiosyncratic responses as more strictly personal responses to fiction film that vary across individual spectators. In philosophy of film, idiosyncratic responses are often deemed inappropriate, unwarranted and unintended by the film. One type of idiosyncratic response is when empathy with a character triggers the spectator to reflect on his own real life issues. Self-reflection can be triggered by egoistic drift, where the spectator starts imagining himself in the character’s shoes, by re-experiencing memories, or by unfamiliar experiences that (...)
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  34. 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 relations (...)
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  35. Mixed Feelings: Conflicts in Emotional Responses to Film.James Harold - 2010 - Midwest Studies in Philosophy 34 (1):280-294.
    Some films scare us; some make us cry; some thrill us. Some of the most interesting films, however, leave us suspended between feelings – both joyous and sad, or angry and serene. This paper attempts to explain how this can happen and why it is important. I look closely at one film that creates and exploits these conflicted responses. I argue that cases of conflict in film illuminate a pair of vexing questions about emotion in film: (1) (...)
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  36. Realism in Film: Less is More.Jiri Benovsky - 2017 - Dialogue 56 (1):131-141.
    What is realism in film? Focusing on a test case of HFR high-definition movies, I discuss in this article various types of realism as well as their interrelations. Precision, recessiveness of the medium, transparency, and 'Collapse' are discussed and compared. At the end of the day, I defend the claim that 'less is more' in the sense that more image precision can actually have a negative impact on storytelling.
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  37. Movie Review Of: The Man Who Knew Infinity.Gary James Jason - 2016 - Liberty 6.
    This is a review of the biopic of the great mathematician Ramanujan, 'The Man Who Knew Infinity'(2016).
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  38. Movie Review Of: Departures.Gary James Jason - 2010 - Liberty.
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  39. Movie Review Of: Triumph of the Will.Gary James Jason - 2007 - Liberty.
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  40. Was hat Musik im Film zu suchen?Andreas Dorschel - 2005 - In Tonspuren. Musik im Film: Fallstudien 1994 - 2001. Universal Edition. pp. 12-21.
    Attempts to bestow a musical background upon spoken drama have been deemed widely superfluous; most films, by way of contrast, do employ music. This aesthetic divergence invites an account of film music in terms of lack and compensation. The standard account in such terms, viz. that music has to fill the vacuum of silence, does not explain what it is supposed to explain. Rather, music in cinema can restore in a different way the expression lost as reality is reduced (...)
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  41. Selling Genocide I: The Earlier Films.Gary James Jason - 2016 - Reason Papers 38 (1).
    In this essay, I review two earlier anti-Semitic propaganda films of 1939, to wit, Robert and Bertram, and Linen from Ireland. I begin by rehearsing some of Abram de Swann’s analysis of genocide and then discuss in greater detail a classic sociological analysis written during WWII by Hans Speier. Speier distinguished three broad kinds of war of increasing ferocity: instrumental war, agonistic war, and absolute war. While the first two sorts of war are relatively constrained, in absolute war the in-group (...)
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  42.  23
    Understanding Vedanta Through Films (A Pedagogical Model) – A Case Study of Matrix.Shakuntala Gawde - 2019 - In S. Varkhedi & G. Mahulikar (eds.), New Frontiers in Sanskrit and Indic Knowledge. New Delhi: New Bharatiya Book Corporation. pp. 106-121.
    Indian Philosophy has reached across the globe. It is popular for its practical way towards life. Study of Indian philosophy should be part of all streams of education. Film is effective tool of communication. It attracts all generations and makes strong impression in the mind. Film is always considered as an effective tool in Pedagogy. Philosophy deals with abstract concepts, their correlation and logical reasoning. It deals with the complex problem of reality. People have notion that philosophy is (...)
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  43. The Pure Moment of Murder: The Symbolic Function of Bodily Interactions in Horror Film.Steve Jones - 2011 - Projections 6 (2):96-114.
    Both the slasher movie and its more recent counterpart the "torture porn" film centralize graphic depictions of violence. This article inspects the nature of these portrayals by examining a motif commonly found in the cinema of homicide, dubbed here the "pure moment of murder": that is, the moment in which two characters’ bodies adjoin onscreen in an instance of graphic violence. By exploring a number of these incidents (and their various modes of representation) in American horror films ranging from (...)
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  44.  91
    Nuclear Holocaust in American Films.Edmund Byrne - 1989 - In Carl Mitcham (ed.), Technology and Ethics: Research in Philosophy and Technology. Westport: JAI Press. pp. 3-21.
    Ordinary people shudder at the thought that people in positions of power might do whatever they think they can get away with. But that is often the way it is in the real world, and the risks go even higher when opportunity is compounded with impatience. The ways of negotiation and diplomacy are not considered entirely outmoded. But more and more we are being duped by a dream of some ultimate technological fix: that one more fancy gadget is all it (...)
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  45. Thoughts on Film: Critically Engaging with Both Adorno and Benjamin.Laura D'Olimpio - 2016 - Educational Philosophy and Theory 48 (6):622-637.
    There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a sub-category of Art proper, it is worth re-considering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. T. W. Adorno, for example, critiques film as ‘mass-cult’; mass produced culture (...)
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  46. Heterotopia of the Film Solaris Directed by Andrei Tarkovski.Nicolae Sfetcu - manuscript
    In Solaris, within the limits of heterotopic experience, several theoretical and ontological questions are examined through approaches on each character. Berton declares one of the main philosophical themes of the movie when he tells Kelvin: "You want to destroy that which we are presently incapable of understanding? Forgive me, but I am not an advocate of knowledge at any price. Knowledge is only valid when it's based on morality." The ocean does not mean anything as an object, it simply exists. (...)
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  47.  70
    Philosophers on Film: Before Sunrise, Before Sunset, Before Midnight.Hans Maes & Katrien Schaubroeck (eds.) - 2021 - Routledge.
    Richard Linklater’s celebrated Before trilogy chronicles the love of Jesse (Ethan Hawke) and Céline (Julie Delpy) who first meet up in Before Sunrise, later reconnect in Before Sunset and finally experience a fall-out in Before Midnight. Not only do these films present storylines and dilemmas that invite philosophical discussion, but philosophical discussion itself is at the very heart of the trilogy. This book, containing specially commissioned chapters by a roster of international contributors, explores the many philosophical themes that feature so (...)
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  48. Philosophers on Film: Eternal Sunshine of the Spotless Mind.Christopher Grau (ed.) - 2009 - Routledge.
    This is the first book to explore and address the philosophical aspects of Eternal Sunshine of the Spotless Mind. Beginning with a helpful introduction that places each essay in context, specially commissioned chapters examine the following topics: -/- * Philosophical issues surrounding love, friendship, affirmation and repetition * The role of memory (and the emotions) in personal identity and decision-making * The morality of imagination and ethical importance of memory * Philosophical questions about self-knowledge and knowing the minds of others (...)
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  49. Stadt Und Film. Versuche Zu Einer 'Visuellen Soziologie' Herausgegeben von Matthias Horwitz, Bernward Joerges Und Jörg Potthast MIT Beiträgen von B. Joerges, D. Kress, A. Krämer, D. Naegler Und J. Potthast.Bernward Joerges - 1996 - In Bernward Joerges, Jörg Potthast & Mathias Horowitz (eds.), WZB Discussion Papers. WZB.
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  50.  42
    La psychologie du film Solaris réalisé par Andrei Tarkovsky.Nicolae Sfetcu - manuscript
    Le film de Tarkovsky est un « drame de douleur et de récupération partielle » axé sur la psychologie de l'équipe de la station Solaris. Tarkovsky voulait aborder plus profond émotionnellement et intellectuellement le genre scientifique-fantastique, considéré par lui comme superficiel. Il traite un phénomène central de l'analyse psycho-critique de la perception humaine de Klaus Holzkamp : les conditions de la perception du monde humain sont significatives pour l'homme. Dans la perception, les êtres humains sont orientés vers un sens (...)
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