20 found

Year:

  1.  7
    Robert Sinnerbrink (2019) Terrence Malick: Filmmaker and Philosopher.George Crosthwait - 2021 - Film-Philosophy 25 (2):207-211.
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  2.  3
    Narrative Difference: Jacques Rancière, Gilles Deleuze and Uncle Boonmee Who Can Recall His Past Lives.Jade de Cock de Rameyen - 2021 - Film-Philosophy 25 (2):165-186.
    How should critics approach narrative temporality in times of ecological disorder? Literary critics have attempted to bridge eco-criticism with narrative theory, shifting attention from narrative content to narrative form. Econarratology studies how narrative shapes our understanding of the environment. Yet, eco-critical interrogations of narrative form are lacking. Grounded in a homogeneous conception of time, narratology often relays a dichotomy between narrativity and “dysnarrativity”. This dichotomy fails to translate the variety of temporal processes in film. I shall highlight the problem underlying (...)
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  3.  4
    Barry Nevin (2018) Cracking Gilles Deleuze's Crystal: Narrative Space-Time in the Films of Jean Renoir.David Deamer - 2021 - Film-Philosophy 25 (2):212-215.
  4.  4
    Michelle Devereaux (2019) The Stillness of Solitude: Romanticism and Contemporary American Independent Film.Suzanne Ferriss - 2021 - Film-Philosophy 25 (2):216-219.
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  5.  3
    “I Said Something Wrong”: Transworld Obligation in Yesterday.Steven Gimbel & Thomas Wilk - 2021 - Film-Philosophy 25 (2):151-164.
    Danny Boyle's film Yesterday is a contemporary morality play in which the main character, Jack Malik, a failing singer-songwriter, is magically sent to a different possible world in which the Beatles never existed. Possessing his memory of the Beatles’ catalogue in the new possible world, he is now in sole possession of an extremely valuable artifact. Recording and performing the songs of the Beatles and passing them off as his own, he becomes rich, famous, and deeply unhappy. Once he confesses (...)
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  6.  8
    Picturing the Autobiographical Imagination: Emotion, Memory and Metacognition in Inside Out.Wyatt Moss-Wellington - 2021 - Film-Philosophy 25 (2):187-206.
    Inside Out develops novel cinematic means for representing memory, emotion and imagination, their interior relationships and their social expression. Its unique animated language both playfully represents pre-teenage metacognition, and is itself a manner of metacognitive interrogation. Inside Out motivates this language to ask two questions: an explicit question regarding the social function of sadness, and a more implicit question regarding how one can identify agency, and thereby a sense of developing selfhood, between one’s memories, emotions, facets of personality, and future-thinking (...)
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  7.  2
    Lucy Bolton (2019) Contemporary Cinema and the Philosophy of Iris Murdoch.Davina Quinlivan - 2021 - Film-Philosophy 25 (2):220-223.
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  8.  6
    Allan James Thomas (2018) Deleuze, Cinema and the Thought of the World.Lapsley Robert - 2021 - Film-Philosophy 25 (2):224-227.
  9.  3
    Silence as Elective Mutism in Minor Cinema.Tanya Shilina-Conte - 2021 - Film-Philosophy 25 (2):130-150.
    This article advances mutism as a creative mode and conceptual tool to treat silence in cinema. Whereas mutism can be a productive concept for the study of auditory and visual absence in a broader...
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  10.  5
    Breathing, Cinema and Other “Nobjects” in Camille Vidal-Naquet’s Sauvage.Emilija Talijan - 2021 - Film-Philosophy 25 (2):87-109.
    This article examines the breathing and breathless body in Camille-Vidal Naquet’s Sauvage. Respiration has been characterised by Peter Sloterdijk, in the first volume of his Sphären trilogy, as the first extension of the womb. The air we breathe is a “nobject” that escapes the subject-object relation, like the placenta before it. Sauvage engages the respiratory, alongside the placental and the acoustic, as three pre-oral “nobjects” for exploring what Leo Bersani has termed the body’s “somatic receptivity”. Duration, framing, lighting, and camera (...)
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  11.  11
    The Kierkegaardian Existentialism of Richard Linklater's Before Trilogy.Zachary Xavier - 2021 - Film-Philosophy 25 (2):110-129.
    This article examines the Kierkegaardian existentialism set in motion by Richard Linklater's Before trilogy: Before Sunrise, Before Sunset, and Before Midnight. In doing so, it asserts the efficacy of cinema as a medium of existential import, one that is particularly suited to give form to Søren Kierkegaard's project. The identification of three existential stages of life – the aesthetic, ethical, and religious – is perhaps Kierkegaard's most notable contribution to philosophy. This article contends that Linklater's aesthetic strategy – namely, his (...)
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  12.  4
    A Miraculous Materialism: Lines of Flight in We Have a Pope and Corpo Celeste.Silvia Angeli & Francesco Sticchi - 2021 - Film-Philosophy 25 (1):1-17.
    This article considers Nanni Moretti's We Have a Pope and Alice Rohrwacher's Corpo Celeste via the notion of lines of flight as developed by Gilles Deleuze and Félix Guattari. We argue that, in spite of stylistic and thematic differences, the two films present clear similarities since they highlight and address conflicts and tensions existing within the contemporary Catholic religious order. Both films present cracks and horizons of becoming within the institutionalised Catholic Church, tracing possible paths of transformation for viewers aligning (...)
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  13.  4
    Trembling Meaning: Camera Instability and Gilbert Simondon's Transduction in Czech Archival Film.Jiří Anger - 2021 - Film-Philosophy 25 (1):18-41.
    Many experimental found footage films base their meanings and effects on an interaction between the figurative content of the image and its material-technological underpinnings. Can this interaction arise accidentally without artistic appropriation? A recently digitised film by the Czech cinema pioneer Jan Kříženecký, Opening Ceremony of the Čech Bridge, presents such an exercise in accidental aesthetics. At one point, the horizontal and vertical trembling of the cinematograph – obtained from the Lumière brothers – translates into a trembling of the figures (...)
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  14.  7
    Francesco Sticchi (2019) Melancholy Emotion in Contemporary Cinema: A Spinozian Analysis of Film Experience.Claudio Celis Bueno - 2021 - Film-Philosophy 25 (1):70-73.
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  15.  6
    David Martin-Jones (2018) Cinema Against Doublethink: Ethical Encounters with the Lost Pasts of World History.Simon Dickson - 2021 - Film-Philosophy 25 (1):74-78.
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  16.  7
    André Bazin's Eternal Returns: An Ontological Revision.Jeff Fort - 2021 - Film-Philosophy 25 (1):42-61.
    The recent publication of André Bazin's Écrits complets, an enormous two-volume edition of 3000 pages which increases ten-fold Bazin's available corpus, provides opportunities for renewed reflection on, and possibly for substantial revisions of, this key figure in film theory. On the basis of several essays, I propose a drastic rereading of Bazin's most explicitly philosophical notion of “ontology.” This all too familiar notion, long settled into a rather dust-laden couple nonetheless retains its fascination. Rather than attempting to provide a systematic (...)
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  17.  8
    Murray Smith (2017) Film, Art, and the Third Culture: A Naturalized Aesthetics of Film.Will Kitchen - 2021 - Film-Philosophy 25 (1):83-86.
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  18.  4
    Laura McMahon (2019) Animal Worlds: Film, Philosophy and Time.Savina Petkova - 2021 - Film-Philosophy 25 (1):79-82.
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  19.  6
    Bernd Herzogenrath (Ed.) (2017) Film as Philosophy.Christa van Raalte - 2021 - Film-Philosophy 25 (1):66-69.
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  20.  5
    Kate Ince (2017) The Body and the Screen: Female Subjectivities in Contemporary Women's Cinema.Laura Staab - 2021 - Film-Philosophy 25 (1):62-65.
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