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

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  1. Noël Carroll (2008). The Philosophy of Motion Pictures. Blackwell Pub..score: 174.0
    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. Frederik le Roy (ed.) (2011). Tickle Your Catastrophe!: Imagining Catastrophe in Art, Architecture and Philosophy. Academia Press.score: 148.5
    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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  3. Paisley Livingston (2009). Cinema, Philosophy, Bergman: On Film as Philosophy. Oxford University Press.score: 124.5
    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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  4. Catherine Constable (2009). Adapting Philosophy: Jean Baudrillard and the Matrix Trilogy. Manchester University Press.score: 124.5
    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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  5. Richard Brown & Kevin S. Decker (eds.) (2009). Terminator and Philosophy: I'll Be Back, Therefore I Am. John Wiley & Sons.score: 123.0
    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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  6. 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: 123.0
    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 (...)
     
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  7. Gertrud Koch (ed.) (2010). Perspektive--Die Spaltung der Standpunkte: Zur Perspektive in Philosophie, Kunst Und Recht. Wilhelm Fink.score: 118.5
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  8. Andrew Kania (2009). The Philosophy of Motion Pictures • by Noël Carroll. Analysis 69 (1):194-195.score: 117.0
    Book review of _The Philosophy of Motion Pictures_ by Noël Carroll.
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  9. Bruce Silver (1977). Reply to Professor Mirarchi's Force and Absolute Motion in Berkeley's Philosophy of Physics. Journal of the History of Ideas 38.score: 115.0
    Professor l a mirarchi argues, In his "force and absolute motion in berkeley's philosophy of physics" (_journal of the history of ideas, Volume 38, Pages 705-713), That I have misunderstood berkeley's treatment of inertial motion. I contend, Despite professor mirarchi's criticism, That while berkeley accepts the newtonian principle of inertia, He cannot accommodate it into his own radically contingent picture of the universe.
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  10. Christopher Falzon (2007). Philosophy Goes to the Movies: An Introduction to Philosophy. Routledge.score: 114.0
    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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  11. Thomas S. Hibbs (2011). Shows About Nothing: Nihilism in Popular Culture. Baylor University Press.score: 114.0
    Nihilism, American style -- The quest for evil -- The negative zone : suburban familial malaise in American beauty, Revolutionary road, and Mad men -- Normal nihilism as comic : Seinfeld, Trainspotting, and Pulp fiction -- Romanticism and nihilism -- Defense against the dark arts : from Se7en to the Dark knight and Harry Potter -- God got involved : sacred quests and overcoming nihilism -- Feels like the movies.
     
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  12. John Mullarkey (2009/2010). Philosophy and the Moving Image: Refractions of Reality. Palgrave Macmillan.score: 114.0
    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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  13. Patricia Pisters (2003). The Matrix of Visual Culture: Working with Deleuze in Film Theory. Stanford University Press.score: 112.5
    This book explores Gilles Deleuze's contribution to film theory. According to Deleuze, we have come to live in a universe that could be described as metacinematic. His conception of images implies a new kind of camera consciousness, one that determines our perceptions and sense of selves: aspects of our subjectivities are formed in, for instance, action-images, affection-images and time-images. We live in a matrix of visual culture that is always moving and changing. Each image is always connected to an assemblage (...)
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  14. Hamish Ford (2012). Post-War Modernist Cinema and Philosophy: Confronting Negativity and Time. Palgrave Macmillan.score: 112.5
    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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  15. William C. Pamerleau (2009). Existentialist Cinema. Palgrave Macmillan.score: 112.5
    An exploration of the relationship between cinema and existentialism, in terms of their mutual ability to describe the human condition, this book combines analyses of topics in the philosophy of film with an exploration of specific existentialist themes expressed in the films of Fellini, Bergman and Woody Allen, among others.
     
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  16. Peter S. Fosl (ed.) (2012). The Big Lebowski and Philosophy: Keeping Your Mind Limber with Abiding Wisdom. Wiley.score: 111.0
    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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  17. Jonathan J. Sanford (ed.) (2012). Spider-Man and Philosophy: The Web of Inquiry. John Wiley & Sons, Inc..score: 111.0
    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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  18. Jeffery Nicholas (ed.) (2011). Dune and Philosophy. Open Court.score: 111.0
    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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  19. Thomas S. Hibbs (1999). Shows About Nothing: Nihilism in Popular Culture From the Exorcist to Seinfeld. Spence Pub..score: 111.0
     
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  20. Mark D. White (ed.) (2012). The Avengers and Philosophy: Earth's Mightiest Thinkers. John Wiley & Sons, Inc..score: 111.0
     
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  21. Warren Buckland (ed.) (2009). Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell.score: 109.5
    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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  22. Jaimey Fisher & Barbara Caroline Mennel (eds.) (2010). Spatial Turns: Space, Place, and Mobility in German Literary and Visual Culture. Rodopi.score: 109.5
    Spatial Turns brings together essays that apply a spatial analysis to German literature and other media and engages with specifically German theorizations of ...
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  23. Vera Apfelthaler & Julia Köhne (eds.) (2007). Gendered Memories: Transgressions in German and Israeli Film and Theatre. Turia + Kant.score: 109.5
     
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  24. Juhani Pallasmaa (2001). The Architecture of Image: Existential Space in Cinema. Rakennustieto.score: 109.5
     
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  25. David Egan (2011). Pictures in Wittgenstein's Later Philosophy. Philosophical Investigations 34 (1):55-76.score: 108.0
    The word “picture” occurs pervasively in Wittgenstein's later philosophy. Not only does Wittgenstein often use literal pictures or the notion of mental pictures in his investigations, but he also frequently uses “picture” to speak about a way of conceiving of a matter (e.g. “A picture held us captive” at Philosophical Investigations§115). I argue that “picture” used in this conceptual sense is not a shorthand for an assumption or a set of propositions but is rather an expression of (...)
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  26. Robert Palter (1971). Absolute Space and Absolute Motion in Kant's Critical Philosophy. Synthese 23 (1):47 - 62.score: 108.0
    The significance of absolute space and absolute motion in the critical philosophy is clarified by analysis of relevant passages in kant's metaphysical foundations of natural science. Newton's absolute space is rejected in favor of absolute space conceived of as an idea of reason serving to unify the infinity of possible relative kinematic spaces. On the other hand, Something like newton's concept of absolute motion (e.G., In the case of rotation) is accepted by kant under the heading of (...)
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  27. Alix Mazuet (ed.) (2012). Imaginary Spaces of Power in Sub-Saharan Literatures and Films. Cambridge Scholars Publishing.score: 108.0
     
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  28. Douglas P. Newton (2006). Showing Movement in Children's Pictures: A Study of the Effectiveness of Some Non‐Mimetic Representations of Motion. Educational Studies 10 (3):255-261.score: 108.0
    (1984). Showing Movement in Children's Pictures: a study of the effectiveness of some non‐mimetic representations of motion. Educational Studies: Vol. 10, No. 3, pp. 255-261.
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  29. Ron Tobias (2011). Film and the American Moral Vision of Nature: Theodore Roosevelt to Walt Disney. Michigan State University Press.score: 106.5
    Introduction -- Tales of dominion -- The plow and the gun -- Picturing the West, 1883-1893 -- American idol, 1898 -- The end of nature -- African romance -- The dark continent -- When cowboys go to heaven -- Transplanting Africa -- Of ape-men, sex, and cannibal kings -- Adventures in monkeyland -- Nature, the film -- The world scrubbed clean.
     
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  30. Jean-Pierre Boulé & Enda McCaffrey (eds.) (2011). Existentialism and Contemporary Cinema: A Sartrean Perspective. Berghahn Books.score: 105.0
    At the heart of this volume is the assertion that Sartrean existentialism, most prominent in the 1940s, particularly in France, is still relevant as a way of ...
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  31. Havi Carel & Greg Tuck (eds.) (2011). New Takes in Film-Philosophy. Palgrave Macmillan.score: 105.0
    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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  32. Russell J. A. Kilbourn (2010). Cinema, Memory, Modernity: The Representation of Memory From the Art Film to Transnational Cinema. Routledge.score: 105.0
    Introduction : cinema, memory, modernity: the return of memory as film -- No escape from time : memory and redemption in the international postwar art film -- The "crisis" of memory : "traumatic identity" in the contemporary memory film -- "Global memory" : cinema as lingua franca and the commodification of the image -- The eye of history : memory, surveillance and ethicality in the contemporary art film -- "Prosthetic memory" and transnational cinema : globalized identity and narrative recursivity in (...)
     
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  33. Paul Coates (1994). Film at the Intersection of High and Mass Culture. Cambridge University Press.score: 103.5
    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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  34. Therese Davis (2004). The Face on the Screen: Death, Recognition and Spectatorship. Intellect Books.score: 103.5
    There was a time in screen culture when the facial close-up was a spectacular and mysterious image… The constant bombardment of the super-enlarged, computer-enhanced faces of advertising, the endless 'talking heads' of television and the ever-changing array of film stars' faces have reduced the face to a banal image, while the dream of early film theorists that the 'giant severed heads' of the screen could reveal 'the soul of man' to the masses is long since dead. And yet the end (...)
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  35. Jenny Chamarette (2013). Phenomenology and the Future of Film: Rethinking Subjectivity Beyond French Cinema. Palgrave Macmillan.score: 103.5
    Introduction -- Time and matter: temporality, embodied subjectivity and film phenomenology -- Knowing and nothing: Chris Marker, subjective temporalities and vocalic bodies in the future tense -- Agnès Varda's Trinket box: subjective relationality, affect and temporalised space -- Burlesque gestures and bodily attention: phenomenologies of the ephemeral in Chantal Akerman -- Threatened corporealities: thinking with the films of Philippe Grandrieux -- Conclusion: rethinking cinematic subjectivity and beyond.
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  36. Josef Früchtl (2009). The Impertinent Self: A Heroic History of Modernity and Film. Stanford University Press.score: 103.5
    Introduction : heroes like us -- Hegel, the western and classical modernity -- The myth and the frontier -- The hero in the epochs of mythical and the bourgeois -- The end of the individual -- The end of the subject -- Romanticism, crime and agonal modernity -- The return of tragedy in modernity -- Heroes of coolness and the ironist -- Nietzsche, science fiction and hybrid modernity -- Heroic individualismus and metaphysics -- Superhumans, supermen, cyborgs -- Heroes of the (...)
     
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  37. Josef Früchtl (2009). The Impertinent Self: A Heroic History of Modernity. Stanford University Press.score: 103.5
    Hegel, the western and classical modernity. The myth and the frontier ; The hero in the epochs of mythical and the bourgeois ; The end of the individual ; The end of the subject -- Romanticism, crime and agonal modernity. The return of tragedy in modernity ; Heroes of coolness and the ironist -- Nietzsche, science fiction and hybrid modernity. Heroic individualismus and metaphysics ; Superhumans, supermen, cyborgs ; Heroes of the future.
     
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  38. Sam B. Girgus (2010). Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine / Sam B. Girgus. Columbia University Press.score: 103.5
    Introduction : time, film, and the ethical vision of Emmanuel Levinas. American transcendence : Levinas and a short history of an American idea in film -- Frank Capra and James Stewart : time, transcendence, and the other -- The changing face of American redemption : Henry Fonda, Marilyn Monroe, Paul Newman, and Denzel Washington -- Sex, art, and Oedipus : The unbearable lightness of being -- Fellini and La dolce vita : documentary, decadence, and desire -- Antonioni and L'avventura : (...)
     
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  39. Andrew Utterson (ed.) (2005). Technology and Culture, the Film Reader. Routledge.score: 103.5
    The relationship between cinema and technology is a complex and fascinating one. Andrew Utterson brings together key theoretical texts spanning more than a century of writing. He begins by investigating cinema as technology or as an interconnected series of technologies, then goes on to examine the technological history of cinema within a much broader context: as one element in a sustained period of technological expansion, cinematic or otherwise, and its impact on the wider world. Rather than seeing technologies in traditional (...)
     
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  40. John David Rhodes & Elena Gorfinkel (eds.) (2011). Taking Place: Location and the Moving Image. University of Minnesota Press.score: 102.0
    Explores how moving images both produce and are predicated on place.
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  41. Angelika Bartl (2012). Andere Subjekte: Dokumentarische Medienkunst Und Die Politik der Rezeption. Transcript.score: 102.0
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  42. Jean-Pierre Boulé & Ursula Tidd (eds.) (2012). Existentialism and Contemporary Cinema: A Beauvoirian Perspective. Berghahn Books.score: 102.0
    This book is an attempt to redress this balance and reopen the dialogue between Beauvoir's writings and film studies.
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  43. Luc Deneulin (2011). Filmisch Verlangen: Film Als Filosofie. Asp.score: 102.0
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  44. Pyŏng-ch'ŏl Pak (2009). Saenggak Ŭi Ch'ang, K'ino Ai: Yŏnghwa Sok Ŭi Ch'ŏrhak Ii. Sŏgwangsa.score: 102.0
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  45. Pyŏng-ch'ŏl Pak (2001). Yŏnghwa Sok Ŭi Ch'ŏrhak. Sŏgwangsa.score: 102.0
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  46. Jordi Ramírez Asencio (2006). Les Pel·Lícules Del Laberint: De Fellini a Coppola: Un Passeig Pel Nihilisme Cinematogràfic. Pagès Editors.score: 102.0
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  47. Fabio Vighi & Alexis Nouss (eds.) (2010). Pasolini, Fassbinder and Europe: Between Utopia and Nihilism. Cambridge Scholars Pub..score: 102.0
     
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  48. Wanda Teays (2012). Seeing the Light: Exploring Ethics Through Movies. Wiley-Blackwell.score: 100.5
    Machine generated contents note: IntroductionUNIT ONE: THE HUMAN CONDITION 1.0 Introduction 1.1 Authenticity 1.2 Personal Identity 1.3 Autonomy and Liberty 1.4 Courage and Inner Strength UNIT TWO: ETHICAL THEORY 2.0 Introduction 2.1 Ethical Egoism 2.2 Cultural Relativism 2.3 Utilitarianism 2.4 Kantian Ethics 2.5 Rawls' Justice Theory 2.6 Aristotle's Virtue Ethics 2.7 Feminist EthicsUNIT THREE: ETHICAL DILEMMAS 3.0 Introduction 3.1 Confronting the Dilemma 3.2 Encountering Evil 3.3 The Impact of Perspective 3.4 Reflecting on Ethical Decisions 4.0 Conclusion to the Text 4.1 (...)
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  49. Alexandre Castant (2007). Planètes Sonores: Radiophonie, Arts, Cinéma. Monografik.score: 100.5
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  50. Richard De Canio (1994). Cinematic Readings: A Primer of Film Culture. Chiu Yo Pub. House.score: 100.5
     
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