Results for 'film philosophy'

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  1.  97
    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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  2.  67
    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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  3. 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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  4. 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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  5.  35
    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.  52
    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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  7. 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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  8. 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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  9.  73
    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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  10. From Night to Day: Nihilism and the Living Dead.John Marmysz - 1996 - Film & Philosophy (Society for the Philosophic Study of the Contemporary Visual Arts) 3:138-143.
    Upon its release in 1968, George Romero's Night of the Living Dead was attacked by many critics as an exploitative low budget film of questionable moral value. I argue in this paper that Night of the Living Dead is indeed nihilistic, but in a deeper philosophical sense than the critics had in mind.
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  11. 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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  12. Introducing Cinematic Humanism: A Solution to the Problem of Cinematic Cognitivism.Britt Harrison - 2019 - Croatian Journal of Philosophy 19 (2):331-349.
    A Cinematic Humanist approach to film is committed inter alia to the following tenet: Some fiction films illuminate the human condition thereby enriching our understanding of ourselves, each other and our world. As such, Cinematic Humanism might reasonably be regarded as an example of what one might call ‘Cinematic Cognitivism’. This assumption would, however, be mistaken. For Cinematic Humanism is an alternative, indeed a corrective, to Cinematic Cognitivism. Motivating the need for such a corrective is a genuine scepticism about (...)
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  13. Rooting for the Fascists in James Cameron’s Avatar.John Marmysz - 2012 - Film and Philosophy 16:101-120.
    Conservative critics have united in attacking James Cameron’s newest blockbuster Avatar for its “liberal” political message. But underneath all of the manifest liberalism of Avatar there is also a latent message. In his valorization of the organic, primal, interconnectedness of Na’vi culture and his denigration of the mechanical, modern, disconnectedness of human culture, Cameron runs very close to advocating a form of fascism. -/- In this paper I describe the overarching philosophical perspective of fascism, and then I draw on the (...)
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  14. 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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  15.  84
    The Ecstasy of Time Travel in Werner Herzog's Cave of Forgotten Dreams.William Day - 2017 - In David LaRocca (ed.), The Philosophy of Documentary Film: Image, Sound, Fiction, Truth. Lanham, MD 20706, USA: Lexington Books. pp. 209-224.
    Documentary film is that genre of filmmaking that lays bare the fact of all film, which is that it presents "a world past" (Cavell, The World Viewed). This fact of film seems to point to a paradox of time in our experience of movies: we are present at something that has happened, something that is over. But what if we were to take this fact to show that film has the power to place us outside our (...)
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  16.  95
    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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  17. Happy-Go-Lucky Revisited: A Response to Basileios Kroustallis.Christopher Grau - 2015 - Film-Philosophy 19 (1):1-15.
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  18. I Don't Know, Just Wait: Remembering Remarriage in Eternal Sunshine of the Spotless Mind.William Day - 2011 - In David LaRocca (ed.), The Philosophy of Charlie Kaufman. University Press of Kentucky.
    "In 'I Don't Know, Just Wait: Remembering Remarriage in Eternal Sunshine of the Spotless Mind', William Day shows how Kaufman's Eternal Sunshine of the Spotless Mind should be considered part of the film genre known as remarriage comedy; but he also shows how Kaufman contributes something new to the genre. Day addresses, in particular, how the conversation that is the condition for reunion involves discovering 'what it means to have memories together as a way of learning how to be (...)
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  19. Realism in Film (and Other Representations).Robert Hopkins - forthcoming - 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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  20. 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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  21. Filmästhetik und Weltsichten.Thomas Wachtendorf - manuscript
    According to a dogma mainly set up by Heidegger and Horkheimer/Adorno technology prevents the humans from reflecting their own situation in the world. Revealing the conditions of being is not only every humans main task, but even that of philosophy and art. From this point of view the motion picture taken to be merely a piece of technology is not of any worth philosophically and also not considered as art. This dogma is false. It is derived from the assertion (...)
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  22. 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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  23.  42
    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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  24.  43
    Cryptophasia and the Question of Database.Ekin Erkan - 2019 - Triple Ampersand:1-29.
    Over the last thirty years, once staunchly historical cinema scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, and André Gaudreault have abandoned history for historiography and film studies for media archaeology. With increasing attention on the “database” as a symbolic metaphor for postmodernity and the decentered, networked tenants of the global present, cinema is taking on the characteristics of new media, existing in intertextual space. Thus, the term “post-cinema” has been co-opted as a viable intermediary that accounts for (...)
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  25. 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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  26. 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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  27.  24
    Schefer, Jean-Louis. 2016. The Ordinary Man of Cinema. [REVIEW]Ekin Erkan - 2020 - Comparative Cinema 8 (14):82-85.
    Book review of Jean-Louis Schefer's The Ordinary Man of Cinema (2016) with particular attention to Schefer's conception of affect and its influence on Deleuze.
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  28. Could a Heptapod Act? Language and Agency in Arrival.James Pearson - 2019 - Film and Philosophy 23:48-68.
    Arrival offers a useful thought experiment in the philosophy of mind and language. Assessing human linguists' interpretive efforts to understand the alien heptapod form of life in both the movie and the novella from which it was adapted (Ted Chiang’s “Story of Your Life”) teach us how our understanding of selfhood shapes our conception of agency. Arrival’s reflexive commentary on the cinematic experience is also an argument for the value of learning to communicate in cinematic language.
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  29. Moonstruck, or How to Ruin Everything.William Day - 1995 - Philosophy and Literature 19 (2):292-307.
    A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.
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  30. 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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  31. The Best Memories: Identity, Narrative, and Objects.Richard Heersmink & Christopher Jade McCarroll - 2019 - In Timothy Shanahan & Paul Smart (eds.), Blade Runner 2049: A Philosophical Exploration. Routledge. pp. 87-107.
    Memory is everywhere in Blade Runner 2049. From the dead tree that serves as a memorial and a site of remembrance (“Who keeps a dead tree?”), to the ‘flashbulb’ memories individuals hold about the moment of the ‘blackout’, when all the electronic stores of data were irretrievably erased (“everyone remembers where they were at the blackout”). Indeed, the data wiped out in the blackout itself involves a loss of memory (“all our memory bearings from the time, they were all damaged (...)
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  32.  58
    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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  33. The Myth of Scotland as Nowhere in Particular.John Marmysz - 2014 - International Journal of Scottish Theatre and Screen 7 (1):28-44.
    In a number of recent films, Scotland has served as the setting for dramas that could have taken place anywhere. This has occurred in two related ways: First, there are films such as Perfect Sense (2011) and Under the Skin (2013). These films involve storylines that, while they do take place in Scotland, do not require the country as a setting. Second, there are films such as Prometheus (2012),The Dark Knight Rises (2012), Cloud Atlas (2012), and World War Z (2013). (...)
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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. 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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  36.  58
    We All Need Mirrors to Remind Us Who We Are: Inherited Meaning and Inherited Selves in Memento.Michael Baur - 2005 - In Paul Tudico & Kimberly Blessing (eds.), Movies and the Meaning of Life: Philosophers Take On Hollywood. Chicago, IL, USA: Open Court Publishing Company. pp. 94-110.
    The movie Memento (2000) broaches several interrelated philosophical questions concerning human knowledge, personal identity, and the human search for meaning. For example, is our knowledge based mainly on conclusions reached through our own reason, or is it based instead on habituation and conditioning brought about by forces outside of us? What is the role that memory plays in our knowledge? Furthermore, what is the relationship between memory and personal identity? And what is the relationship between memory, personal identity, and the (...)
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  37. Cinematic.Aaron Smuts - 2013 - Nordic Journal of Aesthetics 23 (46):78-95.
    Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. (...)
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  38. 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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  39. Buster Keaton and the Puzzle of Love.Timothy Yenter - 2015 - In Ken Morefield & Nick Olson (eds.), Masters of World Cinema, Vol. 3. Cambridge Scholars Press. pp. 31-43.
    Despite the notable lack of Chaplinesque romantic flourishes, Buster Keaton has a sophisticated approach to romantic love in his films. Love in Keaton’s films is a mutual recognition and admiration for the physical and mental competence necessary to deal with an absurd, cruel, or indifferent social and physical environment and an agreement to face the world together. There are two ways in which this claim might seem surprising to someone familiar with Keaton’s films. Keaton’s famously stoic persona seems to be (...)
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  40.  74
    On the Demonization and Discrimination of Akan and Yoruba Women in Ghanaian and Nigerian Video Movies.Louise Muller - 2014 - Research in African Literatures 45 (4):104-120.
    This article focuses on the religious information inside Ghanaian and Nigerian video movies regarding Akan and Yoruba women. More specifically, it focuses on the indigenous religious, Christian, and Islamic messages inside these movies in relation to women. The article demonstrates that Akan and Yoruba filmmakers, who dominate the Ghanaian and Nigerian video movie industries, are part of networks of religious institutions, predominantly Pentecostal-Charismatic Christian and modest Islamic ones. These organizations sponsor filmmakers to spread religious messages that promote hierarchical gender relations (...)
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  41.  14
    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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  42.  86
    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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  43. Why Moral Philosophers Should Watch Sci-Fi Movies.Nikil Mukerji - 2014 - In Fiorella Battaglia & Nathalie Weidenfeld (eds.), Roboethics in Film. Pisa University Press. pp. 79-92.
    In this short piece, I explore why we, as moral philosophers, should watch sci-fi movies. Though I do not believe that sci-fi material is ne- cessary for doing good moral philosophy, I give three broad reasons why good sci-fi movies should nevertheless be worth our time. These reasons lie in the fact that they can illustrate moral-philosophical pro- blems, probe into possible solutions and, perhaps most importantly, an- ticipate new issues that may go along with the use of new (...)
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  44. What Quantum Mechanics Doesn't Show.Justin P. McBrayer & Dugald Owen - 2016 - Teaching Philosophy 39 (2):163-176.
    Students often invoke quantum mechanics in class or papers to make philosophical points. This tendency has been encouraged by pop culture influences like the film What the Bleep do We Know? There is little merit to most of these putative implications. However, it is difficult for philosophy teachers unfamiliar with quantum mechanics to handle these supposed implications in a clear and careful way. This paper is a philosophy of science version of MythBusters. We offer a brief primer (...)
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  45. 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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  46. Sensuous Presencing and Artistic Creation: The Aesthetic Legacy of Merleau-Ponty’s Thought [on Emmanuel Alloa & Adnen Jdey, Du Sensible À L'Oeuvre. Esthétiques de Merleau-Ponty, 2012]. [REVIEW]Véronique M. Fóti - 2014 - Comparative and Continental Philosophy 6 (2):203-210.
    While the French phenomenologist Maurice Merleau-Ponty remained engaged with artistic creation throughout his entire work, which continues to inspire artists today in manifold ways, no systematic and artistically inclusive study of this dimension of his thought has existed so far. Du sensible à l’œuvre fills this gap by offering not only an in-depth study of Merleau-Ponty’s aesthesiology and aesthetics by international Merleau-Ponty scholars spanning three generations, but also a rich selection of essays by art critics and theorists who assess the (...)
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  47. 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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  48.  86
    Fictional Truth in Digital Cinema: A Criticism Against John Dilworth.Carmina Sera Jose - manuscript
    In digital cinema, the ambiguity in the concept of representation asks us: How do moving pictures represent fictional objects? I am more concerned in the veracity of fictional objects than the representational theory of how fictional objects are generated. I claim that John Dilworth’s framework is uncritical, therefore, I will adopt an account of truth in fiction according to David Lewis. The purposes of this paper are: (1) to criticize John Dilworth’s framework, and (2) to provide Lewis’s theory as an (...)
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  49.  26
    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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  50.  34
    Sonic Pictures.Jason Leddington - forthcoming - Journal of Aesthetics and Art Criticism.
    Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; and (...)
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