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  1. Catharine Abell (2010). Cinema as a Representational Art. British Journal of Aesthetics 50 (3):273-286.
    In this paper, I develop a unified account of cinematic representation as primary depiction. On this account, cinematic representation is a distinctive form of depiction, unique in its capacity to depict temporal properties. I then explore the consequences of this account for the much-contested question of whether cinema is an independent representational art form. I show that it is, and that Scruton’s argument to the contrary relies on an erroneous conception of cinematic representation. CiteULike Connotea Del.icio.us What's this?
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  2. Dudley Andrew (2010). What Cinema Is!: Bazin's Quest and its Charge. Wiley-Blackwell.
    Preface: The target of film theory -- Camera searching in the world -- Is a camera essential? -- Cahiers axiom -- Tracing Bazin's trace -- Images contested today -- Editor's discovery of form -- Bazin's forerunners -- Documentaries in the cauldron of history -- Cahiers line -- Pursuing cinema in the twenty-first century -- Projector as spectator's searchlight -- Power of projection -- Opening the screen's dimensions -- Frame as threshold -- Writing out of the frame -- Evolution of the (...)
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  3. Dudley Andrew (1984). Concepts in Film Theory. Oxford University Press.
    Concepts in Film Theory is a continuation of Dudley Andrew's classic, The Major Film Theories. In writing now about contemporary theory, Andrew focuses on the key concepts in film study -- perception, representation, signification, narrative structure, adaptation, evaluation, identification, figuration, and interpretation. Beginning with an introductory chapter on the current state of film theory, Andrew goes on to build an overall view of film, presenting his own ideas on each concept, and giving a sense of the interdependence of these concepts. (...)
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  4. Daniel Barratt (2009). Twist Blindness" : The Role of Primacy, Priming, Schemas, and Reconstructive Memory in a First-Time Viewing of The Sixth Sense. In Warren Buckland (ed.), Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell. 62--87.
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  5. John A. Bateman (2012). Multimodal Film Analysis: How Films Mean. Routledge.
    Analysing film. Distinguishing the filmic contribution to meaning -- Examples of filmic "textual organisation" -- Redrawing boundaries -- Organisation of the book -- Semiotics and documents. Semiotics and its relations to film -- The nature of discourse semantics -- The film as cinematographic document -- A combined view: filmic documents for filmic discourse -- Constructing the semiotic mode of film. Semiotic multimodality -- The internal organisation of semiotic strata -- Composing and combining semiotic modes -- Materiality and "epistemological commitment" -- (...)
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  6. Nitzan S. Ben-Shaul (2012). Cinema of Choice: Optional Thinking and Narrative Movies. Berghahn Books.
    Introduction -- Closed mindedness in movies -- Failed alternatives to optional thinking -- Optional thinking in movies -- Conclusion.
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  7. Yifen Beus (2012). Griots and Talanoa Speak: Storytelling as Theoretical Frames in African and Pacific Island Cinemas. In Saër Maty Bâ & Will Higbee (eds.), De-Westernizing Film Studies. Routledge.
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  8. Giorgio Biancorosso (2004). Film, Music, and the Redemption of the Mundane. In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge.
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  9. Yvette Bíró (1982). Profane Mythology: The Savage Mind of the Cinema. Indiana University Press.
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  10. Thomas Bivins (2007). Loyalty, Utility, and Integrity in Casablanca: The Use of Film in Explicating Philosophical Disputes Concerning Utilitarianism. Journal of Mass Media Ethics 22 (2 & 3):132 – 150.
    Can concepts such as loyalty and integrity remain intrinsically valuable personal traits even as we devote ourselves to that which requires the loyalty in the first place (the greater good)? Does utilitarian deliberation rest on too extreme a notion of impartiality - one that focuses exclusively on the consequences of actions, leaving people, in the words of Bernard Williams, "mere faceless numbers"? Using the film Casablanca as an extended analogy, this article attempts to reconcile the concept of loyalty to a (...)
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  11. David Bordwell (1985). Narration in the Fiction Film. University of Wisconsin Press.
    In this study, David Bordwell offers the first comprehensive account of how movies use fundamental principles of narrative representation, unique features of ...
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  12. Jean-Pierre Boulé (2011). Cédric Klapisch's The Spanish Apartment and Russian Dolls in Nausea's Mirror. In Jean-Pierre Boulé & Enda McCaffrey (eds.), Existentialism and Contemporary Cinema: A Sartrean Perspective. Berghahn Books.
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  13. Curtis Bowman (2003). Horror's Philosophic Auteurs: Heidegger, the Uncanny, and Jacques Tourneur's Horror Films. In Steven Jay Schneider & Daniel Shaw (eds.), Dark Thoughts: Philosophic Reflections on Cinematic Horror. Scarecrow Press.
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  14. Stan Brakhage (2003). Telling Time: Essays of a Visionary Filmmaker. Documentext.
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  15. Stan Brakhage (2001). Essential Brakhage: Selected Writings on Filmmaking. Documentext.
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  16. Katrina A. Bramstedt (2010). Film Review. Journal of Bioethical Inquiry 7 (3):333-334.
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  17. Edward Branigan (2006). Projecting a Camera : Language-Games in Film Theory. Routledge.
    In Projecting a Camera, film theorist Edward Branigan offers a groundbreaking approach to understanding film theory. Why, for example, does a camera move? What does a camera "know"? (And when does it know it?) What is the camera's relation to the subject during long static shots? What happens when the screen is blank? Through a wide-ranging engagement with Wittgenstein and theorists of film, he offers one of the most fully developed understandings of the ways in which the camera operates in (...)
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  18. Edward Branigan (1989). Sound and Epistemology in Film. Journal of Aesthetics and Art Criticism 47 (4):311-324.
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  19. William Brown (2012). Has Film Ever Been Western? Continuity and the Question of Building a "Common" Cinema. In Saër Maty Bâ & Will Higbee (eds.), De-Westernizing Film Studies. Routledge.
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  20. William Brown (2009). Man Without a Movie Camera, Movies Without Men: Towards a Posthumanist Cinema? In Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies. Routledge. 66--85.
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  21. Warren Buckland (2012). Film Theory: Rational Reconstructions. Routledge.
    Introduction -- An improbable alliance : Peter Wollen's "The auteur theory" -- Visual stylometry : Barry Salt's "Statistical style analysis of motion pictures" -- Between Shakespeare and Sirk : Thomas Elsaesser's "Tales of sound and fury: observations on the family melodrama" -- From iconicity to semiotic articulation : Christian Metz's "cinema: language or language system?" and language and cinema -- Film as a specific signifying practice : Stephen Heath's "On screen, in frame: film and ideology" -- Against theories of reflection (...)
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  22. Warren Buckland (2009). Introduction: Puzzle Plots. In , Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell. 1--12.
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  23. Warren Buckland (2009). Making Sense of Lost Highway. In , Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell. 42.
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  24. Warren Buckland (ed.) (2009). Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell.
    Drawing upon the expertise of film scholars from around the world, Puzzle Films investigates a number of films that sport complex storytelling--from Memento, ...
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  25. Warren Buckland (ed.) (2009). Film Theory and Contemporary Hollywood Movies. Routledge.
    This volume offers a representative sampling of current research generated by both young and established film scholars from the different schools of thought ...
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  26. Noël Burch (1981). Theory of Film Practice. Princeton University Press.
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  27. Brian E. Butler (2010). Blackness is Noir: Flory's Philosophical Investigation of the Black Noir Genre in Film. [REVIEW] Film-Philosophy 14 (1):332-336.
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  28. William Cadbury (1982). Film Criticism: A Counter Theory. Iowa State University Press.
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  29. Allan Cameron & Sean Cubitt (2009). Infernal Affairs and the Ethics of Complex Narrative. In Warren Buckland (ed.), Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell. 151.
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  30. Evan Cameron (1970). On Mathematics, Music, and Film. [Available From Art and Nature].
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  31. Paul A. Cantor (2010). The Fall of the House of Ulmer: Europe Vs. America in the Gothic Vision of the Black Cat. In Thomas Richard Fahy (ed.), The Philosophy of Horror. University Press of Kentucky.
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  32. Bert Cardullo (2011). Art-House Cinema, Avant-Garde Film, and Dramatic Modernism. Journal of Aesthetic Education 45 (2):1-16.
    The most important modes of film practice, in my view, are art-house cinema and the avant-garde, both of which contrast with the classical Hollywood mode of film practice. While the latter is characterized by its commercial imperative, corporate hierarchies, and a high degree of specialization as well as a division of labor, the avant-garde is an “artisanal” or “personal” mode. Avant-garde films tend to be made by individuals or very small groups of collaborators, financed either by the filmmakers alone or (...)
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  33. Havi Carel & Greg Tuck (eds.) (2011). New Takes in Film-Philosophy. Palgrave Macmillan.
    New Takes in Film-Philosophy offers a space for the advancement of the film-philosophy debate by some of its major figures. Fifteen leading academics from Philosophy and Film Studies develop new approaches to film-philosophy, broaden theoretical analyses of the topic and map out problems and possibilities for its future. The collection examines theoretical issues about the relationship between film and philosophy; looks at the relationships film-philosophy has to other media such as photography and literature; and applies theoretical approaches to particular films (...)
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  34. Noël Carroll (1988). Film/Mind Analogies: The Case of Hugo Munsterberg. Journal of Aesthetics and Art Criticism 46 (4):489-499.
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  35. Allan Casebier (1991). Film and Phenomenology: Toward a Realist Theory of Cinematic Representation. Cambridge University Press.
    In Film and Phenomenology, Allan Casebier develops a theory of representation first indicated in the writings of the father of phenomenology, Edmund Husserl, and then applies it to the case of cinematic representation. This work provides one of the clearest expositions of Husserl's highly influential but often obscure thought. It also demonstrates the power of phenomenology to illuminate the experience of the art form unique to the twentieth-century cinema. Film and Phenomenology is intended as an antidote to all hitherto existing (...)
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  36. Francesco Casetti (1999). Theories of Cinema, 1945-1995. University of Texas Press.
    The study of film entered a new era after World War II, as cinema became an acceptable focus for intellectual inquiry. The many ways in which cinema has been imagined, studied, and discussed in the last fifty years are the subject of this comprehensive overview of film theory in the United States and Europe since 1945. Francesco Casetti groups his essays around principal movements in film studies. In the first part of the book, he reviews the attempts at defining the (...)
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  37. Dan Cavedon-Taylor (2010). In Defence of Fictional Incompetence. Ratio 23 (2):141-150.
    The claim that photographs are fictionally incompetent (i.e. that they can only depict those particulars they are appropriately causally related to) is argued by Noël Carroll, Gregory Currie, and Nigel Warburton to be falsified by cinematic works of fiction. In response I firstly argue that it does not follow from cinema's having a capacity for the representation of ficta that photography has a capacity for the representation of ficta. Secondly, and inspired by the work of Roger Scruton, I develop an (...)
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  38. Stanley Cavell (2005). Cavell on Film. State University of New York Press.
    In his introduction, William Rothman provides an overview of Cavell's work on film and his aims as a philosopher more generally."--BOOK JACKET.
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  39. Stanley Cavell (1979). The World Viewed: Reflections on the Ontology of Film. Harvard University Press.
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  40. Stanley Cavell (1971). The World Viewed. New York,Viking Press.
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  41. Leo Charney (1998). Empty Moments: Cinema, Modernity, and Drift. Duke University Press.
    In Empty Moments, Leo Charney describes the defining quality of modernity as "drift" - the experience of being unable to locate a stable sense of the present.
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  42. Paolo Cherchi Usai (2001). The Death of Cinema: History, Cultural Memory, and the Digital Dark Age. Bfi Pub..
    It is estimated that about one and a half billion hours of moving images were produced in 1999, twice as many as a decade before. If that rate of growth continues, one hundred billion hours of moving images will be made in the year 2025. In 1895 there were just above forty minutes of moving images to be seen, and most of them are now preserved. Today, for every film made, thousands of them disappear forever without leaving a trace. Meanwhile, (...)
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  43. Jinhee Choi (2011). A Philosophy of Cinematic Art by Gaut, Berys. Journal of Aesthetics and Art Criticism 69 (2):235-237.
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  44. Alex Clayton (2012). Coming to Terms. In Alex Clayton & Andrew Klevan (eds.), The Language and Style of Film Criticism. Routledge.
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  45. Alex Clayton & Andrew Klevan (2012). Introduction. In Alex Clayton & Andrew Klevan (eds.), The Language and Style of Film Criticism. Routledge.
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  46. Alex Clayton & Andrew Klevan (eds.) (2012). The Language and Style of Film Criticism. Routledge.
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  47. Paul Coates (1994). Film at the Intersection of High and Mass Culture. Cambridge University Press.
    At the Intersection of High and Mass Culture analyses the contradictions and interaction between high and low art, with particular reference to Hollywood and European cinema. Written in the essayist, speculative tradition of Walter Benjamin and Theodore Adorno, this study also includes analyses of several key films of the 1980s. Tracing the boundaries of such genres as film noir, science fiction and melodrama, it demonstrates how these genres were radically expanded by such filmmakers as Neil Jordan, Chris Merker and Georges (...)
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  48. Felicity Colman (2011). Deleuze and Cinema: The Film Concepts. Berg.
    Introduction : Deleuze's cinematographic consciousness -- Ciné-system -- Movement : the movement-image -- Frame, shot and cut -- Montage -- Perception -- Affect -- Action -- Transsemiotics -- Signs (vector) -- Time -- Politics -- Topology -- Thought -- Conclusion : cinematographic ethics.
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  49. Felicity Colman (ed.) (2009). Film, Theory and Philosophy: The Key Thinkers. Acumen.
    Philosophy, and in particular continental philosophy, has provided a conceptual underpinning for cinema since its beginnings, especially in the development of cinematic aesthetics. In its turn, film has rethought the abstractions of space and time and the categories of sex and gender and has created new concepts which illuminate phenomenology, metaphysics and epistemology. -/- Film, Theory and Philosophy brings together leading scholars to provide a detailed overview of the key thinkers who have shaped the field of film philosophy. The thinkers (...)
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  50. Henri G. Colt, Silvia Quadrelli & Lester D. Friedman (eds.) (2011). The Picture of Health: Medical Ethics and the Movies. Oxford University Press.
    This volume presents a collection of about 80 very brief, accessible essays written by international experts from medicine, social sciences, and the humanities, ...
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1 — 50 / 331