Results for 'film philosophy'

996 found
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  1.  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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  2. 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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  3. 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 concedes (...)
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  4. 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 (...)
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  5. 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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  6. 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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  7. 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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  8.  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 (...)
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  9.  65
    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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  10.  58
    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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  11. 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 (...)
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  12. 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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  13. 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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  14.  37
    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 (...)
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  15.  44
    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 (...)
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  16.  29
    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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  17. 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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  18. 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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  19.  80
    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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  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.  95
    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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  22. 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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  23.  83
    Imagination and Film.Jonathan Gilmore - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 845-863.
    This chapter addresses the application of contemporary theories of the imagination—largely drawn from cognitive psychology—to our understanding of film. Topics include the role of the imagination in our learning what facts hold within a fictional film, including what characters’ motivations, beliefs, and feelings are; how our perceptual experience of a film explains our imaginative visualizing of its contents; how fictional scenarios in films generate certain affective and evaluative responses; and how such responses compare to those we have (...)
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  24.  93
    Philosophy’s Artful Conversation, by D. N. Rodowick. [REVIEW]Timothy Yenter - 2016 - Teaching Philosophy 39 (4):565-567.
    Philosophy’s Artful Conversation draws on Gilles Deleuze, Stanley Cavell, and the later writing by Ludwig Wittgenstein to defend a “philosophy of the humanities.” Both because film studies is historically a site of contention and theoretical upheaval and because Rodowick accepts Cavell’s idea that (at least in the American context) film is philosophy made ordinary, bringing philosophical questions of skepticism and perfectionism into filmgoers’ lives inescapably, it makes sense to build this vision for the humanities out (...)
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  25. 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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  26. Imagination and Perception in Film Experience.Enrico Terrone - 2020 - Ergo: An Open Access Journal of Philosophy 7.
    Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting (...)
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  27. 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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  28. 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 (...)
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  29. Cultural Change and Nihilism in the Rollerball Films.John Marmysz - 2004 - Film and Philosophy 8:91-111.
    In 2002, a remake of the 1975 film Rollerball was released in theaters. It flopped at the box-office, disappearing quickly from movie screens and reappearing shortly thereafter on home video. While aesthetically horrendous, the remake of Rollerball is instructive, as it provides a point of contrast to the original film, highlighting a change in our culture’s manner of engagement with the difficult philosophical problem of nihilism. Both films share a roughly similar plot, yet in the differing manners that (...)
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  30.  85
    Ways of Seeing Films.Paulo Alexandre E. Castro - 2021 - Coimbra, Portugal: IEF.
    Contents Preface - ix -/- I. Scientific fiction movies: is there any place for God?! 1. A brief introduction about the birth of science fiction - 15 2. Religious beliefs vs Science Fiction - 18 3. Is there any place for God?! - 20 -/- II. The Village (M. Night Shyamalan) and The Giver (Phillip Noyce) or why utopia is (im)possible 1. Some utopian notions. Remembering Thomas More - 29 2. The Village and The Giver. Some remarks on ideal societies (...)
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  31.  62
    The Palgrave Handbook of Posthumanism in Film and Television by Michael Hauskeller, Thomas Philbeck, and Curtis Carbonell (Review). [REVIEW]Lantz Fleming Miller - 2019 - Film and History 49 (2):94-96.
    Science fiction has served the film industry like a dreamy stepchild. It gets only scant accolades from its master but must do heavy lifting: that is, make money. While science-fiction films often emphasize spectacle and action, they also inspire philosophical contemplation. Why? Science fiction, dating back to Shelley and Verne, came into existence speculating about humanity's social and physical worlds. Many books and articles over the past several years discuss the philosophical issues that films raise. One fairly new school (...)
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  32. Nihilism and Reality in Akira Kurosawa's Rashomon (1949 Movie).Marcos Wagner Da Cunha - manuscript
    This essay is part of a doctoral dissertation presented to the Department of Philosophy, University of São Paulo, in 1993, named 'Genealogy of the Real' . Its core idea is a Nietzschean approach to a masterpiece among philosophical inspired movies, namely, Akira Kurosawa's Rashomon, which surely touches deep groundings of the concept of truth and reality.
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  33. Cinephilia and Philosophia: Or, Why I Don't Show The Matrix in Philosophy 101.Timothy Yenter - 2017 - In Rashna Wadia Richards & David T. Johnson (eds.), For the Love of Cinema: Teaching Our Passion In and Outside the Classroom. Bloomington, IN: Indiana University Press.
    The shelves of film and philosophy books should have made it considerably easier to teach with films in introductory philosophy classes, and certainly many philosophers have found them useful. However, shortcomings of many of these pop culture volumes (which I discuss in the next section) make these works rarely useful in the classroom. I propose instead a new model for how to teach film in a philosophy class. The model develops the virtues inherent in cinephilia (...)
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  34. The Ethics of Narrative Art: Philosophy in Schools, Compassion and Learning From Stories.Laura D’Olimpio & Andrew Peterson - 2018 - Journal of Philosophy in Schools 5 (1):92-110.
    Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us (...)
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  35. Philosophy Goes to the Movies: An Introduction to Philosophy.Adam Morton - 2003 - British Journal of Aesthetics 43 (3):332-334.
    review of Falzon *Philosophy goes to the Movies*.
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  36. Routledge Philosophy Guidebook to Aristotle and the Poetics.Angela Curran - 2015 - Routledge.
    Aristotle’s Poetics is the first philosophical account of an art form and is the foundational text in the history of aesthetics. The Routledge Philosophy Guidebook to Aristotle and the Poetics is an accessible guide to this often dense and cryptic work. Angela Curran introduces and assesses: Aristotle’s life and the background to the Poetics the ideas and text of the Poetics , including mimēsis ; poetic technē; the definition of tragedy; the elements of poetic composition; the Poetics’ recommendations for (...)
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  37.  60
    Review of Alexis Gibbs 'Seeing Education on Film: A Conceptual Aesthetics'.Britt Harrison - 2020 - Journal of the Philosophy of Education.
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  38.  85
    ANTICHRIST (2009), a Lars von Trier Movie, Seen as a Critique to the All Too Human Pretension to Reason's Omnipotence.Marcos Wagner da Cunha - manuscript
    Lars von Trier's works give us allways plenty of exquisite philosophical food for thought, mostly in very dense and hermetic language. 'Melancholia' , a 2011 movie, has been seen by us as a brilliant dramatization of Schopenhauer's and Nietzsche's philosophy, also available on PhilArchives. 'Antichrist', another movies of his from 2009, deploys a similar doom perspective regarding our times, now focusing the perpetual struggle between men and women as a leitomotiv. This brief review, however, does not intend to go (...)
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  39.  57
    Child Abuse Remains Mundane Even Under Symbolic Disguise: Highlights From an Albanian Post WWII Movie.Gentian Vyshka - 2020 - Asian Journal of Language, Literature and Culture Studies 3 (4):28-37.
    Artistic work during communist regime in Albania has been a strictly controlled area, due to censorship and ideological limitations. However, the creative genius of some individuals was able to transmit religious images in a disguised form, particularly when themes were permissive to ambiguous messages. Depicting child abuse was a taboo for the everyday life, but not when focusing on certain historical periods that were purposefully stigmatized from the state propaganda. Some snapshots and images from the movie ‘Red poppies on the (...)
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  40. Cartesianism and Intersubjectivity in Paranormal Activity and the Philosophy of Mind.Steve Jones - 2017 - Film-Philosophy 21 (1):1-19.
    Over the last century within the philosophy of mind, the intersubjective model of self has gained traction as a viable alternative to the oft-criticised Cartesian solipsistic paradigm. These two models are presented as incompatible inasmuch as Cartesians perceive other minds as “a problem” for the self, while intersubjectivists insist that sociality is foundational to selfhood. This essay uses the Paranormal Activity series (2007–2015) to explore this philosophical debate. It is argued that these films simultaneously evoke Cartesian premises (via found-footage (...)
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  41. I Am Legend as Philosophy: Imagination in Times of Pandemic... A Mutation Towards a "Second Reality"?Rachad Elidrissi - 2021 - Journal of Science Fiction and Philosophy 4:1-20.
    A planetary panic and almost deserted cities, fear of food shortages, and the growing threat of an invisible virus that does more damage day by day. In the time of the COVID-19 pandemic, many believe that science fiction has now been overtaken by reality. In these times of adversity, what does it take to survive when the world comes crashing down? How do humans stay resilient, manage their growing stress, and somehow navigate through the crisis? More specifically, how do humans (...)
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  42. The Times of Deleuze: An Analysis of Deleuze's Concept of Temporality Through Reference to Ontology, Aesthetics, and Political Philosophy.Robert Luzecky - 2021 - Dissertation, Purdue University
    I analyze Deleuze’s concept of temporality in terms of its ontology and axiological (political and aesthetic) aspects. For Deleuze, the concept of temporality is non-monolithic, in the senses that it is modified throughout his works — the monographs, lectures, and those works that were co-authored with Félix Guattari — and that it is developed through reference to a dizzying array of concepts, thinkers, artistic works, and social phenomena. -/- I observe that Deleuze’s concept of temporality involves a complex ontology of (...)
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  43. Philosophy and 'The Literary Question': Wittgenstein, Emerson, and Strauss on the Community of Knowing.William Blaine Day - 1999 - Dissertation, Columbia University
    Despite their differences, Ludwig Wittgenstein, Ralph Waldo Emerson, and Leo Strauss share two key philosophical commitments. They recognize that philosophy cannot establish or discover a conceptual structure to which one might appeal to justify what one says. And they agree that the task of philosophical writing is to convey a way of thinking set apart from that which seeks to establish or discover conceptual structures. Yet each knows that his writing, in the absence of a universal ground of appeal, (...)
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  44. '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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  45. Die Ausgedachten Welten. (Metaphysisches Denken Im Trickfilm).Alexei Krioukov - 2014 - ZEITSCHRIFT ÄSTHETISCHE BILDUNG 6 (1).
    Animation, Animation theory, Bergson, Schelling, Film philosophy.
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  46.  58
    A Space Odyssey: The Political Philosophy of De-Spatialization.Britton Watson - manuscript
    I explore the political, economic, and cultural consequences of globalization of the reduction of space in the world. This work compares and contrasts the philosophical implications Jameson (and Marx) and Sloterdijk (with Heidegger) of globalization. The film 2001: A Space Odyssey is discussed as a metaphor for the cultural narratives Jameson and Sloterdijk provide.
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  47.  68
    Review dari 'Filsafat di Abad Baru'(Philosophy in the New Century) oleh John Searle (2008) (review revisi 2019). [REVIEW]Michael Richard Starks - 2020 - Selamat Datang di Neraka di Bumi: Bayi, Perubahan Iklim, Bitcoin, Kartel, Tiongkok, Demokrasi, Keragaman, Disgenik, Kesetaraan, Peretas, Hak Asasi Manusia, Islam, Liberalisme, Kemakmuran, Web, Kekacauan, Kelaparan, Penyakit, Kekerasan, Kecerdasan Buatan,.
    Sebelum mengomentari buku ini, saya menawarkan komentar tentang Wittgenstein dan Searle dan struktur Logis rasionalitas. Esai di sini sebagian besar sudah diterbitkan selama dekade terakhir (meskipun beberapa telah diperbarui), bersama dengan satu item yang tidak diterbitkan, dan tidak ada di sini akan datang sebagai kejutan bagi mereka yang telah terus dengan karyanya. Seperti W, ia dianggap sebagai filsuf Standup terbaik pada waktunya dan karya tulis yang solid sebagai batu dan terobosan di seluruh. Namun, kegagalannya untuk mengambil W kemudian cukup serius (...)
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  48. What is It Like to Be John Malkovich?Tom McClelland - 2010 - Postgraduate Journal of Aesthetics 7 (2):10-25.
    To what extent can film - or individual films - act as a vehicle of or forum for philosophy itself?. Many have responded that films can indeed do philosophy to a substantial degree. Furthermore, it has been claimed that this virtue does not belong solely to ‘art’ films, but that popular cinema too can do philosophy. A case in point is Spike Jonze’s 1999 film Being John Malkovich, the Oscar-winning screenplay of which was written by (...)
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  49. The Generic Unmasked: Reproducibility and Profanation.Ekin Erkan - 2019 - Triple Ampersand 8:5.
    Walter Benjamin’s oft-quoted 1936 essay “The Work of Art in the Age of Its Technological Reproducibility” advances the claim that, for the first time in history, the “function” of the work of art is political, as evidenced by cinema. For Benjamin, film is the “first art form whose artistic character is entirely determined by its reproducibility” and Giorgio Agamben, a contemporary Benjaminian philosopher, further elucidates this “function,” positing that cinema essentially ranks with ethics and politics, not solely with aesthetics, (...)
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  50. Torture Pornopticon: (In)Security Cameras, Self-Governance and Autonomy.Steve Jones - 2015 - In Linnie Blake & Xavier Aldana Reyes (eds.), Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon. I.B. Tauris. pp. 29-41.
    ‘Torture porn’ films centre on themes of abduction, imprisonment and suffering. Within the subgenre, protagonists are typically placed under relentless surveillance by their captors. CCTV features in more than 45 contemporary torture-themed films (including Captivity, Hunger, and Torture Room). Security cameras signify a bridging point between the captors’ ability to observe and to control their prey. Founded on power-imbalance, torture porn’s prison-spaces are panoptical. Despite failing to encapsulate contemporary surveillance’s complexities (see Haggerty, 2011), the panopticon remains a dominant paradigm within (...)
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