Search results for 'Motion pictures Philosophy' (try it on Scholar)

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  1. Noël Carroll (2008). The Philosophy of Motion Pictures. Blackwell Pub..score: 702.0
    Philosophy of Motion Pictures is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.
     
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  2. Andrew Kania (2009). The Philosophy of Motion Pictures • by Noël Carroll. Analysis 69 (1):194-195.score: 522.0
    Book review of _The Philosophy of Motion Pictures_ by Noël Carroll.
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  3. Daniel Shaw (2008). A Rejoinder to Noël Carrol's The Philosophy of Motion Pictures. Film-Philosophy 12 (2).score: 444.0
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  4. Ward E. Jones (2013). The Philosophy of Motion Pictures, by Noël Carroll. Mind 122 (486):fzt066.score: 435.0
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  5. A. C. Ribeiro (2006). Philosophy of Film and Motion Pictures. British Journal of Aesthetics 46 (3):317-319.score: 435.0
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  6. T. E. Wartenberg (2009). The Philosophy of Motion Pictures. British Journal of Aesthetics 49 (1):83-85.score: 435.0
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  7. NoË Carroll, L. & Jinhee Choi (eds.) (2005). Philosophy of Film and Motion Pictures: An Anthology. Wiley-Blackwell.score: 435.0
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  8. NoË Carroll, L. & Jinhee Choi (eds.) (2009). Philosophy of Film and Motion Pictures: An Anthology. Wiley-Blackwell.score: 435.0
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  9. NoË Carroll & L. (2007). The Philosophy of Motion Pictures. Wiley-Blackwell.score: 435.0
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  10. NoË Carroll & L. (2013). Minerva's Night Out: Philosophy, Pop Culture, and Moving Pictures. Wiley-Blackwell.score: 267.0
    Minerva’s Night Out presents series of essays by noted philosopher and motion picture and media theorist Noël Carroll that explore issues at the intersection of philosophy, motion pictures, and popular culture.
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  11. Richard Allen & Murray Smith (eds.) (1997). Film Theory and Philosophy. Oxford University Press.score: 234.0
    This volume of new essays energizes a growing movement in film theory which questions and seeks to overturn many of the assumptions that have governed film theory for the last twenty years. The book brings together film scholars and philosophers in a united commitment to the standards of argumentation that characterize analytic philosophy rather than a single doctrinal approach. The essays address such topics as authorship, emotion, ideology, representation, and expression in film.
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  12. Gregory Currie (1995). Image and Mind: Film, Philosophy and Cognitive Science. Cambridge University Press.score: 234.0
    This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion over the last twenty years. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general (...)
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  13. I. C. Jarvie (1987). Philosophy of the Film: Epistemology, Ontology, Aesthetics. Routledge & Kegan Paul.score: 234.0
    Examines the overlap between film and philosophy in three distinct ways: epistemological issues in film-making and viewing; aesthetic theory and film; and film as a medium of philosophical expression. This title available in eBook format. Click here for more information . Visit our eBookstore at: www.ebookstore.tandf.co.uk.
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  14. Paisley Livingston & Carl R. Plantinga (eds.) (2008). The Routledge Companion to Philosophy and Film. Routledge.score: 234.0
    The Routledge Companion to Philosophy and Film is the first comprehensive volume to explore the main themes, topics, thinkers and issues in philosophy and film.
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  15. Paisley Livingston (2009). Cinema, Philosophy, Bergman: On Film as Philosophy. Oxford University Press.score: 234.0
    The increasingly popular idea that cinematic fictions can "do" philosophy raises some difficult questions. Who is actually doing the philosophizing? Is it the philosophical commentator who reads general arguments or theories into the stories conveyed by a film? Could it be the film-maker, or a group of collaborating film-makers, who raise and try to answer philosophical questions with a film? Is there something about the experience of films that is especially suited to the stimulation of worthwhile philosophical reflections? In (...)
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  16. Mary M. Litch (2002). Philosophy Through Film. Routledge.score: 234.0
    Do humans have free Will? What distinguishes morally right from morally wrong action? Does God exist? Does life have meaning? What is the ultimate nature of reality? What are the limits of human knowledge? Philosophy through Film offers a stimulating new way to explore the basic questions of philosophy. Each chapter uses a popular film to examine one such topic- from free will and skepticism to personal identity and artificial intelligence- in an approachable yet philosophically rigorous manner. A (...)
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  17. Damian Cox (2011). Thinking Through Film: Doing Philosophy, Watching Movies. Wiley-Blackwell.score: 234.0
    Philosophy and film. Why film and philosophy? -- Philosophy and film spectatorship -- Epistemology and metaphysics. Knowing what's what in Total recall -- Ontology and The matrix -- It's all in the mind: AI artificial intelligence and robot love -- La jetee and the promise of time travel -- The human condition. Fate and choice: the philosophy of Minority report -- Personal identity: the case of Memento -- The spectacle of horror: Funny games -- Looking for (...)
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  18. David Norman Rodowick (ed.) (2009). Afterimages of Gilles Deleuze's Film Philosophy. University of Minnesota Press.score: 234.0
    Since their publication, these books have had a profound impact on the study of film and philosophy. Film, media, and cultural studies scholars still grapple today with how they can most productively incorporate Deleuze's thought.
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  19. Hamish Ford (2012). Post-War Modernist Cinema and Philosophy: Confronting Negativity and Time. Palgrave Macmillan.score: 234.0
    Appropriate for both academic readers and informed general enthusiasts of the cinema it addresses, the book demonstrates both philosophy's particular usefulness for the analysis of modernist cinema and film form's inherent potential for ...
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  20. John Mullarkey (2009/2010). Philosophy and the Moving Image: Refractions of Reality. Palgrave Macmillan.score: 234.0
    Preface : The film-envy of philosophy -- Introduction : nobody knows anything! -- Illustrating manuscripts -- Bordwell and other cogitators -- Žižek and the cinema of perversion -- Deleuze's kinematic philosophy -- Cavell, Badiou and other ontologists -- Extended cognitions and the speeds of cinema -- Fabulation, process and event -- Refractions of reality, or, What is thinking anyway? -- Conclusion : code unknown - a bastard theory for a bastard act.
     
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  21. Havi Carel & Greg Tuck (eds.) (2011). New Takes in Film-Philosophy. Palgrave Macmillan.score: 234.0
    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 (...)
     
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  22. Richard Brown & Kevin S. Decker (eds.) (2009). Terminator and Philosophy: I'll Be Back, Therefore I Am. John Wiley & Sons.score: 228.0
    Time travelers and battles between people and machines provoke old philosophical questions: Can the past really be changed? How do we differentiate ourselves from machines? Can machines have an inner life? Brown (philosophy & critical thinking, LaGuardia Community Coll.) and Decker (philosophy, Eastern Washington Univ.; coeditor, Star Wars and Philosophy ) collect 19 essays by primarily young academics who pursue these questions with entertaining verve and philosophical skill. The Terminator story is about something well intentioned—a defense project—going (...)
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  23. Christopher Falzon (2007). Philosophy Goes to the Movies: An Introduction to Philosophy. Routledge.score: 228.0
    Philosophy Goes to the Movies is a new kind of introduction to philosophy that makes use of the movies to explore philosophical ideas and positions. From art-house movies like Cinema Paradiso to Hollywood blockbusters like The Matrix, the movies we have grown up with provide us with a world of memorable images, events and situations that can be used to illustrate, illuminate and provoke philosophical thought.
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  24. Frederik le Roy (ed.) (2011). Tickle Your Catastrophe!: Imagining Catastrophe in Art, Architecture and Philosophy. Academia Press.score: 228.0
    A collection of essays that takes stock of the current impact of the image and imagination of the catastrophe in art, science and philosophy.
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  25. Catherine Constable (2009). Adapting Philosophy: Jean Baudrillard and the Matrix Trilogy. Manchester University Press.score: 228.0
    This book looks at the ways in which The Matrix Trilogy adapts Jean Baudrillard’s Simulacra and Simulation, and in doing so creates its own distinctive philosophical position. Where previous work in the field has presented the trilogy as a simple ‘beginner’s guide’ to philosophy, this study offers a new methodology for inter-relating philosophy and film texts, focusing on the conceptual role played by imagery in both types of text. This focus on the figurative enables a new-found appreciation of (...)
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  26. Mark Rowlands (2003/2004). The Philosopher at the End of the Universe: Philosophy Explained Through Science Fiction Films. T. Dunne Books/St. Martin's Press.score: 228.0
    The Philosopher at the End of the Universe demonstrates how anyone can grasp the basic concepts of philosophy while still holding a bucket of popcorn. Mark Rowlands makes philosophy utterly relevant to our everyday lives and reveals its most potent messages using nothing more than a little humor and the plotlines of some of the most spectacular, expensive, high-octane films on the planet. Learn about: The Nature of Reality from The Matrix, Good and Evil from Star Wars, Morality (...)
     
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  27. Gregory Flaxman (ed.) (2000). The Brain is the Screen: Deleuze and the Philosophy of Cinema. University of Minnesota Press.score: 225.0
    Composed of a substantial introduction, twelve original essays produced for this volume, and a new English translation of a personal, intriguing, and little ...
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  28. Thomas E. Wartenberg & Angela Curran (eds.) (2005). The Philosophy of Film: Introductory Text and Readings. Blackwell Pub..score: 225.0
    More information about this text along with further resources are available from the accompanying website at: http: //www.mtholyoke.edu/omc/phil-film/index.html.
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  29. Peter S. Fosl (ed.) (2012). The Big Lebowski and Philosophy: Keeping Your Mind Limber with Abiding Wisdom. Wiley.score: 225.0
    Read this book and you'll know why The Big Lebowski is one of the greatest existentialist movies of all time. But that's just, you know, our opin.
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  30. Jonathan J. Sanford (ed.) (2012). Spider-Man and Philosophy: The Web of Inquiry. John Wiley & Sons, Inc..score: 225.0
    Machine generated contents note: Introduction Part One. The Spectacular Life of Spider-Man? 1. Does Peter Parker Have a Good Life? Neil Mussett 2. What Price Atonement? Peter Parker and the Infinite Debt Taneli Kukkonen "My Name is Peter Parker": Unmasking the Right and the Good Mark D. White Part Two. Responsibility-Man 4. "With Great Power Comes Great Responsibility": Spider-Man, Christian Ethics, and the Problem of Evil Adam Barkman 5. Does Great Power Bring Great Responsibility? Spider-Man and the Good Samaritan J. (...)
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  31. Farhang Erfani (2011). Iranian Cinema and Philosophy: Shooting Truth. Palgrave Macmillan.score: 225.0
    Introduction -- How orphans believe: Deleuze, national cinema and Majidi's The color of paradise. Deleuze: on realism and movement-Image -- Deleuze: neorealism (and a brief analysis of Kiarostami's life and nothing more) -- Majidi: The color of paradise -- Deleuze and Majidi: the faith of Mohammad -- "What are filmmakers for in needy times?" On Heidegger and Kiarostami's Taste of cherry -- An overview of Kiarostami's Taste of cherry and the question of the medium -- Heidegger on art and truth (...)
     
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  32. K. Gopinathan (ed.) (2003). Film & Philosophy. University of Calicut.score: 225.0
     
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  33. Patricia Pisters (2012). The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture. Stanford University Press.score: 225.0
    Introduction : schizoanalysis, digital screens and new brain circuits -- Schizoid minds, delirium cinema and powers of machines of the invisible -- Illusionary perception and powers of the false -- Surveillance screens and powers of affect -- Signs of time : meta/physics of the brain-screen -- Degrees of belief : epistemology of probabilities -- Powers of creation : aesthetics of material-force -- The open archive : cinema as world-memory -- Divine in(ter)vention : micropolitics and resistance -- Logistics of perception 2.0 (...)
     
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  34. Mark D. White (ed.) (2012). The Avengers and Philosophy: Earth's Mightiest Thinkers. John Wiley & Sons, Inc..score: 225.0
     
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  35. Warren Buckland (2012). Film Theory: Rational Reconstructions. Routledge.score: 222.0
    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 (...)
     
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  36. Gadi Algazi (2008). Norbert Elias's Motion Pictures: History, Cinema and Gestures in the Process of Civilization. Studies in History and Philosophy of Science Part A 39 (3):444-458.score: 219.0
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  37. Lawrence F. Rhu (2006). Stanley Cavell's American Dream: Shakespeare, Philosophy, and Hollywood Movies. Fordham University Press.score: 219.0
    This book explores Cavell’s writings along converging lines of thought rather than in isolated categories. The author claims that, after Cavell’s celebrated reading of King Lear turned into a nightmarish meditation on Vietnam, he found a more audible voice. Noting that Cavell’s keen ear for the expressive power of ordinary language makes him both a first-rate literary artist and a compelling philosopher of the everyday, he catches what holds Cavell’s manifold interests together. Here the poetry of ideas and presence of (...)
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  38. Richard Allen (2001). Looking at Motion Pictures (Revised) [. Film-Philosophy 5 (1).score: 219.0
    I shall begin this essay by sketching some Wittgenstein-influenced arguments as to why the causal theory of perception is inadequate. However my main concern is to explore the ramifications for pictorial perception of understanding perception in terms of the causal theory. When 'our ordinary notion of perceiving' is characterized in terms of the existence of a causal connection between an object perceived and our sensory experience of that object the case of pictorial perception generates a paradox.
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  39. Jeffery Nicholas (ed.) (2011). Dune and Philosophy. Open Court.score: 219.0
    Frank Herbert’s Dune is the biggest-selling science fiction story of all time; the original book and its numerous sequels have transported millions of readers ...
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  40. Gilberto Perez (1998). The Material Ghost: Films and Their Medium. Johns Hopkins University Press.score: 216.0
    "Tough, smart, superbly engaging, The Material Ghost is a terrific book." -- Edward W. Said In The Material Ghost , Gilberto Perez draws on his lifelong love of the movies as well as his work as a film scholar to write a lively, wide-ranging, penetrating study of films and filmmakers and the nature of the art form. For Perez, film is complex and richly contradictory, lifelike and dreamlike at once, a peculiar mix of reality and imagination. "The images on the (...)
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