Results for 'film editing'

947 found
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  1. A Phenomenological Approach to the Film Editing Practice: Legacy of Maurice Merleau-Ponty.Doğa Çöl - 2019 - Dissertation, Kadir has University
    A phenomenological look on film editing through Merleau-Ponty’s ideas opens up a new way of seeing what editing is and how it affects the spectator. In the classical sense, editing is looked at technically where certain aspects of its use in the film’s language are interpreted and analyzed to understand why and how something is done. In this thesis, the aim is to not dwell on understanding the why and the how. The aim is to (...)
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  2. 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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  3. Reframing the director: distributed creativity in film-making practice.Karen Pearlman & John Sutton - 2022 - In Ted Nannicelli & Mette Hjort (eds.), A Companion to Motion Pictures and Public Value. Wiley Blackwel. pp. 86-105.
    Filmmaking is one of the most complexly layered forms of artistic production. It is a deeply interactive process, socially, culturally, and technologically. Yet the bulk of popular and academic discussion of filmmaking continues to attribute creative authorship of films to directors. Texts refer to “a Scorsese film,” not a film by “Scorsese et al.” We argue that this kind of attribution of sole creative responsibility to film directors is a misapprehension of filmmaking processes, based in part on (...)
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  4.  90
    Depiction of Violence in the Early Films of Sogo Ishii.Doga Col - 2024 - In Jaime Lopez Diez (ed.), Resonances of Japanese Cinema. Madrid: Editorial Fragua. pp. 6-25.
    Sogo/Gakuryu Ishii is one of the pioneers of the punk/cyberpunk movement in Japanese cinema. Though his style changed throughout his career, his early films have been a great influence to filmmakers around the world. His unique filmic style presents questions, observations and interpretations regarding the role of violence as normalized in the daily lives of heavily marginalized punk youth portrayed in an amplified and stylized cyberpunk Japan. What is so captivating about Ishii's style and motivation is that he was not (...)
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  5. Volodymyr Vynnychenko and the Early Ukrainian Decadent Film (1917–1918).Kirillova Olga - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:52-55.
    The article is focused on the phenomenon of the early Ukrainian decadent cinema, in particular, in relation to filmings of Volodymyr Vynnychenko’s dramaturgy. One of the brightest examples of ‘film decadence’ in Vynnychenko’s oevre is “The Lie” directed by Vyacheslav Vyskovs’ky in 1918, discovered recently in the film archives. This film displays the principles of ‘ethical symbolism’, ‘dark’ expressionist aesthetics and remains the unique masterpiece of specifically Ukranian film decadence.
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  6. Elements of Literature: Essay, Fiction, Poetry, Drama, Film.Robert Scholes, Carl H. Klaus, Nancy R. Comley & Michael Silverman (eds.) - 1991 - Oxford University Press USA.
    Providing the most thorough coverage available in one volume, this comprehensive, broadly based collection offers a wide variety of selections in four major genres, and also includes a section on film. Each of the five sections contains a detailed critical introduction to each form, brief biographies of the authors, and a clear, concise editorial apparatus. Updated and revised throughout, the new Fourth Edition adds essays by Margaret Mead, Russell Baker, Joan Didion, Annie Dillard, and Alice Walker; fiction by Nathaniel (...)
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  7. Digital Fabrication and Its Meaning for Film.Matthew Crippen - 2019 - In Joaquim Braga (ed.), Conceiving Virtuality: From Art to Technology. Cham: Springer.
    Bazin, Cavell and other prominent theorists have asserted that movies are essentially photographic, with more recent scholars such as Carroll and Gaut protesting. Today CGI stands as a further counter, in addition to past objections such as editing, animation and blue screen. Also central in debates is whether photog- raphy is transparent, that is, whether it allows us to see things in other times and places. I maintain photography is transparent, notwithstanding objections citing dig- ital manipulation. However, taking a (...)
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  8. Digital Fabrication and Its Meanings for Photography and Film.Matthew Crippen - 2019 - In Joaquim Braga (ed.), Conceiving Virtuality: From Art to Technology. Cham: Springer. pp. 119-131.
    Bazin, Cavell and other prominent theorists have asserted that movies are essentially photographic, with more recent scholars such as Carroll and Gaut protesting. Today CGI stands as a further counter, in addition to past objections such as editing, animation and blue screen. Also central in debates is whether photography is transparent, that is, whether it allows us to see things in other times and places. I maintain photography is transparent, notwithstanding objections citing digital manipulation. However, taking a cue from (...)
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  9. Sculpting in Time, with Andrei Tarkovsky.Nicolae Sfetcu - manuscript
    Tarkovsky opposed to the movie editing and considered that the basis of the art of cinematography (movie art) is the internal rhythm of images. He considers cinema as a representation of distinctive currents or time waves, transmitted in the film through its internal rhythm. Rhythm is at the heart of the "poetic film". A rhythm like a movement inside the frame ("sculpting in time"), not as a sequence of images in time. Time within the frame expresses something (...)
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  10. American History X, Cinematic Manipulation, and Moral Conversion.Christopher Grau - 2010 - Midwest Studies in Philosophy 34 (1):52-76.
    American History X (hereafter AHX) has been accused by numerous critics of a morally dangerous cinematic seduction: using stylish cinematography, editing, and sound, the film manipulates the viewer through glamorizing an immoral and hate-filled neo-nazi protagonist. In addition, there’s the disturbing fact that the film seems to accomplish this manipulation through methods commonly grouped under the category of “fascist aesthetics.” More specifically, AHX promotes its neo-nazi hero through the use of several filmic techniques made famous by Nazi (...)
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  11. A Grammar in Two Dimensions: The Temporal Mechanics of Arrival and the Semantics/Pragmatics Divide.A. G. Holdier - 2022 - Journal of Science Fiction and Philosophy 5.
    Within the philosophy of language, contextualists typically hold (and semantic minimalists deny) that pragmatic elements of an utterance can affect its semantic content. This paper concretizes this debate by analogizing both positions to different kinds of time-travel stories: contextualism is akin to Ludovician narratives that deny the possibility of temporal editing (or “the changing of past events”) while semantic minimalism is aligned with stories that allow the past to be literally altered. By focusing particularly on Denis Villeneuve’s 2016 (...) Arrival, which portrays a Ludovician model of temporality that firmly denies the possibility of temporal editing, this paper defends the strength of the contextualist position. (shrink)
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  12. (UN)FOLDING TIME A PHILOSOPHICAL ANALYSIS OF “CLOUD ATLAS” (2012).Gustavo Ruiz da Silva & Eberval Gadelha Figueiredo Jr - 2024 - Paralaxe 9 (1):18-33.
    This paper examines the film "Cloud Atlas" (2012), directed by Lana Wachowski, Tom Tykwer, and Lilly Wachowski, through a philosophical lens. It explores the narrative structure and creative choices of the film, comparing it to the original book by David Mitchell. The analysis focuses on the film's editing and its impact on the portrayal of time, while drawing on Gilles Deleuze's concept of “the fold” and Pierre Klossowski's notion of “vicious circle”. By investigating these philosophical ideas, (...)
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  13. André Bazin's Eternal Returns: An Ontological Revision.Jeff Fort - 2021 - Film-Philosophy 25 (1):42-61.
    The recent publication of André Bazin's Écrits complets (2018), an enormous two-volume edition of 3000 pages which increases ten-fold Bazin's available corpus, provides opportunities for renewed reflection on, and possibly for substantial revisions of, this key figure in film theory. On the basis of several essays, I propose a drastic rereading of Bazin's most explicitly philosophical notion of “ontology.” This all too familiar notion, long settled into a rather dust-laden couple (“Bazin and ontology”) nonetheless retains its fascination. Rather than (...)
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  14. Come i Sette Sociopatici che Governano la Cina Stanno Vincendo la Terza Guerra Mondiale e Tre Modi per Fermarli (2019).Michael Richard Starks - 2020 - In Benvenuti all'inferno sulla Terra: Bambini, Cambiamenti climatici, Bitcoin, Cartelli, Cina, Democrazia, Diversità, Disgenetica, Uguaglianza, Pirati Informatici, Diritti umani, Islam, Liberalismo, Prosperità, Web, Caos, Fame, Malattia, Violenza, Intellige. Las Vegas, NV USA: Reality Press. pp. 325-333.
    La prima cosa che dobbiamo tenere a mente è che quando diciamo che la Cina dice questo o la Cina lo fa, non stiamo parlando del popolo cinese, ma dei Sociopatici che controllano il Partito Comunista Cinese CCP, cioè i Sette Killer Seriali Senile (SSSSK) del Comitato permanente del PCC o dei 25 membri del Politburo ecc. I piani del CCP per la terza guerra mondiale e il dominio totale sono strutturati abbastanza chiaramente nelle pubblicazioni e nei discorsi govt cinesi (...)
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  15. Abstract - Affective – Multimodal: Interaction between Medium and Perception of Moving Images from the Viewpoint of Cassirer's, Langer's and Krois' Embodiment Theories.Martina Sauer - 2022 - In Multimodality. The Sensually Organized Potential of Artistic Works, edited by Martina Sauer and Christiane Wagner, New York and São Paulo [Special Issue, Art Style 10, 01, 2022]. pp. 25-46.
    Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation the (...)
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  16. Kaneko Fumiko (1903-1926).Kazuki Watanabe - forthcoming - In Revolutionary Women (2nd Edition). Anarchist Federation.
    Fumiko Kaneko was a female anarchist philosopher born in Japan in 1903. With her Korean partner Pak Yol, she founded the anarchist collective “Futei-sha” which published many articles arguing for anarchism and direct action (“Futei-sha” is named after “Futei-Senjin”, a government term for malcontent Koreans). Both Fumiko and Pak were pre-emptively detained during the major earthquake in 1923. During the detention, they testified that they had plotted to bomb the emperor’s son, which resulted in a death sentence for them. Though (...)
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  17. Feminism: Feminisms and Tradition.Peg Zeglin Brand Weiser - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. 2nd edition (Oxford University Press). Oxford University Press. pp. 22-26.
    Feminism came to the discipline of philosophical aesthetics rather late--approximately 1990--in spite of advances made much earlier in the 1970s by feminist scholars in related fields such as literary theory, art history, art criticism, and film studies. This essay tracks notions of "tradition" within the history of aesthetics and subsequent feminist challenges to patriarchal traditions and existing philosophical practices. No one unitary feminist approach is sought; rather a multiplicity of feminisms have arisen within aesthetics that have brought new focus (...)
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  18. A very brief review of the life and work of neuroscientist, physician, psychoanalyst, inventor, animal rights activist and pioneer in dolphins, isolation tanks and psychedelics John C Lilly 1915-2001.Starks Michael - 2016 - In Michael Starks (ed.), Suicidal Utopian Delusions in the 21st Century: Philosophy, Human Nature and the Collapse of Civilization-- Articles and Reviews 2006-2017 2nd Edition Feb 2018. Las Vegas, USA: Reality Press. pp. 577-580.
    Lilly was one of the greatest scientists and pioneers on the limits of human possibility but after his death a collective amnesia has descended and he is now almost forgotten. His Wiki is good but inevitably incomplete so here are a few missing details and viewpoints. Lilly was a generation (or more) ahead of his time. He is almost single-handedly responsible for the great interest in dolphins (which led to the Marine Mammal Protection Act in the USA and helped to (...)
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  19. (1 other version)Will Hominoids or Androids Destroy the Earth? —A Review of How to Create a Mind by Ray Kurzweil (2012).Michael Starks - 2016 - In Suicidal Utopian Delusions in the 21st Century: Philosophy, Human Nature and the Collapse of Civilization-- Articles and Reviews 2006-2017 2nd Edition Feb 2018. Las Vegas, USA: Reality Press. pp. 675.
    Some years ago I reached the point where I can usually tell from the title of a book, or at least from the chapter titles, what kinds of philosophical mistakes will be made and how frequently. In the case of nominally scientific works these may be largely restricted to certain chapters which wax philosophical or try to draw general conclusions about the meaning or long term significance of the work. Normally however the scientific matters of fact are generously interlarded with (...)
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  20. Is JK Rowling More Evil Than Me? (revised 2019).Michael Starks - 2019 - In Suicidal Utopian Delusions in the 21st Century -- Philosophy, Human Nature and the Collapse of Civilization-- Articles and Reviews 2006-2019 4th Edition Michael Starks. Las Vegas, NV USA: Reality Press. pp. 194-199.
    How about a different take on the rich and famous? First the obvious—the Harry Potter novels are primitive superstition that encourages children to believe in fantasy rather than take responsibility for the world-- the norm of course. JKR is just as clueless about herself and the world as most people, but about 200 times as destructive as the average American and about 800 times more than the average Chinese. She has been responsible for the destruction of maybe 30,000 hectares of (...)
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  21. How destructive are the rich, or is J.K. Rowling More Evil Than Me?Michael Starks - 2016 - In Suicidal Utopian Delusions in the 21st Century: Philosophy, Human Nature and the Collapse of Civilization-- Articles and Reviews 2006-2017 2nd Edition Feb 2018. Las Vegas, USA: Reality Press. pp. 202-207.
    How about a different take on the rich and famous? First the obvious—the Harry Potter novels are primitive superstition that encourages children to believe in fantasy rather than take responsibility for the world-- the norm of course. JKR is just as clueless about herself and the world as all the other monkeys, but about 200 times as destructive as the average American and about 800 times more than the average Chinese. She has been responsible for the destruction of maybe 30,000 (...)
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  22. Is Harry Potter more evil than JK Rowling or You? (2013).Michael Starks - 2016 - In Suicidal Utopian Delusions in the 21st Century: Philosophy, Human Nature and the Collapse of Civilization-- Articles and Reviews 2006-2017 2nd Edition Feb 2018. Las Vegas, USA: Reality Press. pp. 575-576.
    How about a different take on the rich and famous? First the obvious—these novels are primitive superstition that encourages children to believe in fantasy rather than take responsibility for the world-- the norm of course. JKR is just as clueless about herself and the world as all the other monkeys, but about 200 times as destructive as the average American and about 800 times more than the average Chinese. She has been responsible for the destruction of maybe 30,000 hectares of (...)
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  23. 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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  24. 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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  25. 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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  26. Film as Philosophy: Essays on Cinema After Wittgenstein and Cavell.Rupert Read & Jerry Goodenough (eds.) - 2005 - New York: Palgrave Macmillan.
    A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in film and how they (...)
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  27. 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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  28. 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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  29. Film about Cape Town is being used to raise awareness, and to ask wider questions.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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  30. 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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  31. Genome editing: slipping down toward Eugenics?Davide Battisti - 2019 - Medicina Historica 3 (3):206-218.
    In this paper, I will present the empirical version of the slippery slope argument (SSA) in the field of genome editing. According to the SSA, if we adopt germline manipulation of embryos we will eventually end up performing or allowing something morally reprehensible, such as new coercive eugenics. I will investigate the actual possibility of sliding towards eugenics: thus, I will examine enhancement and eugenics both in the classical and liberal versions, through the lens of SSA. In the first (...)
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  32. 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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  33. Realism in film (and other representations).Robert Hopkins - 2016 - In Katherine Thomson-Jones (ed.), Current Controversies in Philosophy of Film. New York: 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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  34. 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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  35. 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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  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. 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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  38. A Film-Philosophy of Ecology and Enlightenment.Rupert J. Read - 2018 - New York & Oxon, UK: Routledge.
    Inspired by the philosophy of Wittgenstein and his idea that the purpose of real philosophical thinking is not to discover something new, but to show in a strikingly different light what is already there, this book provides philosophical readings of a number of ‘arthouse’ and Hollywood films. Each chapter contains a discussion of two films—one explored in greater detail and the other analyzed as a minor key which reveals the possibility for the book's ideas to be applied across different films, (...)
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  39. Subjectivity in Film: Mine, Yours, and No One’s.Sara Aronowitz & Grace Helton - 2024 - Ergo: An Open Access Journal of Philosophy 11.
    A classic and fraught question in the philosophy of film is this: when you watch a film, do you experience yourself in the world of the film, observing the scenes? In this paper, we argue that this subject of film experience is sometimes a mere impersonal viewpoint, sometimes a first-personal but unindexed subject, and sometimes a particular, indexed subject such as the viewer herself or a character in the film. We first argue for subject pluralism: (...)
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  40. Germline edits: Trust ethics review process.Julian Savulescu, Chris Gyngell & Thomas Douglas - 2015 - Nature 520.
    Summary: Edward Lanphier and colleagues contend that human germline editing is an unethical technology because it could have unpredictable effects on future generations. In our view, such misgivings do not justify their proposed moratorium.
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  41. 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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  42. Reasons to Genome Edit and Metaphysical Essentialism about Human Identity.Tomasz Żuradzki & Vilius Dranseika - 2022 - American Journal of Bioethics 22 (9):34-36.
    In this commentary paper, we are taking one step further in questioning the central assumptions in the bioethical debates about reproductive technologies. We argue that the very distinction between “person affecting” and “identity affecting” interventions is based on a questionable form of material-origin essentialism. Questioning of this form of essentialist approach to human identity allows treating genome editing and genetic selection as more similar than they are taken to be in the standard approaches. It would also challenge the idea (...)
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  43. 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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  44. 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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  45. Filming Concepts, Thinking Images: On Wonder, Montage and Disruption in an Image-Saturated.Vania Baldi & Nélio Conceição - 2022 - Eidos. A Journal for Philosophy of Culture 6 (2):70-85.
    This article explores the relation between cinema and philosophy through the lens of interest shown by some filmmakers in the lives and works of philosophers. It begins by delving into contemporary perspectives on the relationship between philosophy and cinema. In order to assess how the constitutive dissimilarity of the two terms and the ways in which they can be brought together are at the origin of speculative short circuits and experiences of wonder, it brings together the works of thinkers – (...)
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  46. Gene Editing, the Mystic Threat to Human Dignity.Vera Lúcia Raposo - 2019 - Journal of Bioethical Inquiry 16 (2):249-257.
    Many arguments have been made against gene editing. This paper addresses the commonly invoked argument that gene editing violates human dignity and is ultimately a subversion of human nature. There are several drawbacks to this argument. Above all, the concept of what human dignity means is unclear. It is not possible to condemn a practice that violates human dignity if we do not know exactly what is being violated. The argument’s entire reasoning is thus undermined. Analyses of the (...)
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  47. 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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  48. Film as Phantasm: Dogville’s Cinematic Re-evaluation of Values.Rebecca Longtin - 2019 - In José A. Haro & William H. Koch (eds.), The Films of Lars von Trier and Philosophy: Provocations and Engagements. Springer Verlag. 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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  49. Druk (2020) Movie as an Example of Authentic Way of Being: A Heideggerian Approach.Atilla Akalın - 2023 - Journal of Academic Inquiries 18 (1):207-215.
    Heidegger's philosophical project is generally seen as atheoretical and anti-logical because he remarked on the subjective conditions of knowledge and the everydayness of human behaviors. To him, Dasein's everyday reasoning is coercively and inevitably framed by the present-at-hand modes of understanding. Heidegger alerts us about the possible origins of present-at-hand modes of everyday experience. One of them is Das Man that, is associated with a categorical otherness for Heidegger. It can be regarded as an origin of the primordial scheme of (...)
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  50. A Taxonomy of the Complexities of Embedded Narratives in Film: From Literary Description Simulation to the Visuality-Triggered Self-Referential Fallacy.Yu Yang & Yarong Zeng - 2024 - Innovación y Expresión: Un Recorrido Por Las Artes, la Cultura Visual y la Inteligencia Artificial En la Era Digital.
    The article will be divided into three parts: 1. Explain the literary origins of the nesting pattern and its relationship to cinema narrative, and analyse the nesting tactics commonly used in films under Hollywood’s classical narrative. 2. Describe the variations in nested structures in films made in the 1990s, focusing on self-reflexive nesting, which emerged as a new model beyond conventional nesting during this period. 3. Distinguish the literary style of embedded narratives from the visual recognition mode and provide an (...)
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