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  1. added 2018-10-09
    Gilles Deleuze: nel Fuori assoluto. [REVIEW]Fabio Vergine - 2016 - Consecutio Temporum 1.
    Discussione sul testo di Rocco Ronchi "Gilles Deleuze. Credere nel reale". Per un pensiero della temporalità della filosofia come Fuori assoluto.
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  2. added 2018-09-20
    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 of writing on film. Although (...)
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  3. added 2018-04-09
    Short Note: On the Oddly Satisfying.Evan Malone - 2017 - Contemporary Aesthetics 15.
    In this paper, I propose a novel theory for why we find certain mundane everyday experiences, objects, and phenomena satisfying aesthetic experiences. I refer to these as 'oddly satisfying' experiences, and argue that they assert themselves as aesthetic by being suggestive of the cinematic. This cinematic quality is the product of everyday experiences gesturing towards a kind of careful artistic intent.
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  4. added 2018-02-17
    Film, Theory, and Philosophy: The Key Thinkers.Felicity Colman (ed.) - 2009 - Acumen Publishing.
    An ideal introduction for students, Film, Theory and Philosophy brings together leading scholars to provide a clear, detailed overview of the key thinkers who have shaped the field of film philosophy. From continental philosophers to analytical philosophers, film-makers, film reviewers, sociologists, and cultural theorists, the essays reveal how philosophy can be applied to film analysis and how film can be used to illustrate philosophical problems. But most importantly, the essays explore how cinema has shaped contemporary philosophy and how philosophy has (...)
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  5. added 2017-03-13
    How Movies Do Philosophy.Wack Daniel - 2014 - Film and Philosophy 18.
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  6. added 2017-03-13
    Medium and the 'End of the Myths': Transformation of the Imagination in The World Viewed.Wack Daniel - 2013 - Conversations: A Journal of Cavellian Studies 1:43-66.
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  7. added 2016-12-21
    O FANTASMA DE SALÒ: Pulsão Midiática No Último Filme de Pier Paolo Pasolini.Rafael Duarte Oliveira Venancio - 2016 - Passagens 7 (3).
    O presente artigo deseja entender como a lógica diegética de Salò, último filme de Pier Paolo Pasolini, engendra um fascismo pulsional. Isso é demonstrado a partir da lógica lacaniana do desejo centrado na figura conceitual do fantasma. Com a leitura sexual do conceito feita por Contardo Calligaris, o artigo mostra que o fascismo que Pasolini critica não precisa ser apenas o político, mas também pode ser posto em uma situação econômica tal como aquela que o capitalismo midiatizado coloca em movimento. (...)
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  8. added 2016-12-21
    (Re)Presentação Silenciada: Polêmicas Midiáticas E Sua Normalização Linguística.Rafael Duarte Oliveira Venancio - 2016 - Tropos 5 (2).
    O presente artigo busca investigar como certas produções midiáticas que, apesar da pretensa polêmica e campanha de (contra)estigmatização, não causaram o eco social pretendido. Usando o arcabouço teórico de Jean-François Lyotard, de inspiração wittgensteniana, iremos analisar três produções audiovisuais que entram nas características de nosso objeto: Torre de Babel, Garapa e Capitalismo: uma História de Amor. Observando como tais obras se relacionam com as questões de (re)presentações, saberes e apostas linguísticos, veremos como se operou o silenciamento da polêmica resultando em (...)
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  9. added 2016-12-12
    Image and Mind: Film, Philosophy and Cognitive Science.Gregory Currie - 1995 - Cambridge University Press.
    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. 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 theory of pictorial representation is (...)
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  10. added 2016-12-08
    The Aesthetics of Actor-Character Race Matching in Film Fictions.Christy Mag Uidhir - 2012 - Philosophers' Imprint 12.
    Marguerite Clark as Topsy in Uncle Tom’s Cabin (1918). Charlton Heston as Ramon Miguel Vargas in Touch of Evil (1958). Mizuo Peck as Sacagawea in Night at the Museum (2006). From the early days of cinema to its classic-era through to the contemporary Hollywood age, the history of cinema is replete with films in which the racial (or ethnic) background of a principal character does not match the background of the actor or actress portraying that character. I call this actor-character (...)
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  11. added 2016-12-08
    Thinking Through Film: Doing Philosophy, Watching Movies.Damian Cox & Michael P. Levine - 2011 - Wiley-Blackwell.
    An introduction to philosophy through film, _Thinking Through Film: Doing Philosophy, Watching Movies_ combines the exploration of fundamental philosophical issues with the experience of viewing films, and provides an engaging reading experience for undergraduate students, philosophy enthusiasts and film buffs alike. An in-depth yet accessible introduction to the philosophical issues raised by films, film spectatorship and film-making Provides 12 self-contained, close discussions of individual films from across genres Films discussed include Total Recall, Minority Report, La Promesse, Funny Games, Ikuru, The (...)
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  12. added 2016-12-08
    The Routledge Companion to Philosophy and Film.Paisley Livingston & Carl Plantinga (eds.) - 2008 - Routledge.
    _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. The _Companion_ features sixty specially commissioned chapters from international scholars and is divided into four clear parts: • issues and concepts • authors and trends • genres • film as philosophy. Part one is a comprehensive section examining key concepts, including chapters on acting, censorship, character, depiction, ethics, genre, interpretation, narrative, reception and spectatorship and style. (...)
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  13. added 2016-12-08
    The Philosophy of Film: Introductory Text and Readings.Thomas E. Wartenberg & Angela Curran (eds.) - 2005 - Wiley-Blackwell.
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  14. added 2016-12-08
    Gilles Deleuze's Time Machine.David Rodowick - 1997 - Duke University Press.
    Although Gilles Deleuze is one of France’s most celebrated twentieth-century philosophers, his theories of cinema have largely been ignored by American scholars. Film theorist D. N. Rodowick fills this gap by presenting the first comprehensive study, in any language, of Deleuze’s work on film and images. Placing Deleuze’s two books on cinema—_The Movement-Image _and _The Time-Image_—in the context of French cultural theory of the 1960s and 1970s, Rodowick examines the logic of Deleuze’s theories and the relationship of these theories to (...)
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  15. added 2016-10-17
    Il Rilievo Della Visione Movimento, Profondità, Cinema Ne Le Monde Sensible et Le Monde De L'Expression (Italian).Anna Caterina Dalmasso - 2010 - Chiasmi International 12:83-110.
    Le relief de la vision. Mouvement, profondeur et cinéma dansLe monde sensible et le monde de l’expressionEst-il possible d’établir une connexion entre Le monde sensible et le monde de l’expression et la pensée du dernier Merleau-Ponty? De quelle manière une formulation germinale de la réflexion ontologique serait-elle présente dans le cours de 1953? Et quels sont les éléments de contact et de convergence qui permettent de retracer un tel lien?J’ai l’intention de proposer cette hypothèse à partir d’une considération du thème (...)
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  16. added 2016-09-16
    Screening the Psychological Laboratory: Hugo Münsterberg, Psychotechnics, and the Cinema, 1892–1916.Jeremy Blatter - 2015 - Science in Context 28 (1):53-76.
    According to Hugo Münsterberg, the direct application of experimental psychology to the practical problems of education, law, industry, and art belonged by definition to the domain of psychotechnics. Whether in the form of pedagogical prescription, interrogation technique, hiring practice, or aesthetic principle, the psychotechnical method implied bringing the psychological laboratory to bear on everyday life. There were, however, significant pitfalls to leaving behind the putative purity of the early psychological laboratory in pursuit of technological utility. In the Vocation Bureau, for (...)
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  17. added 2016-02-22
    A View to a Kill: Perspectives on Faux-Snuff and Self.Steve Jones - 2016 - In Neil Jackson, Shaun Kimber, Johnny Walker & Thomas Watson (eds.), Snuff: Real Death and Screen Media. Bloomsbury Academic. pp. 277-294.
    Scholarly debate over faux-snuff’s content has predominantly focused on realism and affect. This paper seeks to offer an alternative interpretation, examining what faux-snuff’s form reveals about self. Faux-snuff is typically presented from a first-person perspective (killer-cam), and as such is foundationally invested in the killer’s experiences as they record their murder spree. First then, I propose that the simulated-snuff form reifies self-experience in numerous ways. Faux-snuff’s characteristic formal attributes capture the self’s limited, fractured qualities, for example. Second, I contend that (...)
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  18. added 2015-11-02
    Translations of Blind Perception in the Films Monika (2012) and Antoine (2008).Robert Stock & Beate Ochsner - 2013 - Invisible Culture (19).
    Against the backdrop of these works (Mitchell/Snyder and others), we propose an analysis of films with and about blind or visually disabled individuals that aims at exploring different modes of world perception. In our view, such an examination should not only discuss the question of “giving voice” and visibility to those who were formerly only represented in or by the media, or the fact that films belonging to what might be considered a “new disability documentary cinema” are dedicated to the (...)
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  19. added 2015-08-26
    Minerva’s Night Out: Philosophy, Pop Culture, and Moving Pictures. [REVIEW]Rafe McGregor - 2015 - British Journal of Aesthetics 55 (2):252-255.
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  20. added 2015-03-30
    The Problem with Realism and Naturalism in Cinema.D. Ambrose - unknown
    Presentation given at the University of Waikato, New Zealand, as part of the Media Department's research seminar series, March 2014.
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  21. added 2015-03-18
    Film.Todd Walters - 2009 - Philosophy Now 73:42-45.
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  22. added 2015-03-18
    Film.Colin Brookes - 2009 - Philosophy Now 72:38-40.
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  23. added 2015-03-18
    Buckland's 'Cognitive Semiotics of Film'.Anthony Hatcher - 2005 - American Journal of Semiotics 21 (1/4):108-109.
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  24. added 2015-03-18
    "Filmen Sie Meine Damen!" Die Erste Europäische Feministische Filmzeitschrift Frauen Und Film.Dirk Ehlting, Ruth Hecking & Daphne Rohling - 2005 - Die Philosophin 16 (32):72-90.
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  25. added 2015-03-18
    Film.Murray Smith - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
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  26. added 2015-03-18
    A Theory of Film Language.Jerry Lee Salvaggio - 1980 - Arno Press.
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  27. added 2015-03-18
    A Viewer's Guide to Film Theory and Criticism.Robert T. Eberwein - 1979 - Scarecrow Press.
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  28. added 2015-03-17
    It's No Longer Your Film.Calvin Thomas - 2006 - Angelaki 11 (2):81 – 98.
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  29. added 2015-03-17
    The Language of Film and Problems in Cinesemiotics.Raymond Durgnat - 1982 - British Journal of Aesthetics 22 (3):264-269.
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  30. added 2015-03-17
    Film as Art.Haig Khatchadourian - 1975 - Journal of Aesthetics and Art Criticism 33 (3):271-284.
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  31. added 2015-03-17
    Profound Banality in the Film.Wolfgang A. Luchting - 1958 - Journal of Aesthetics and Art Criticism 17 (2):208-213.
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  32. added 2015-03-17
    3 D Film and Cyclopic Effect.Gunther Anders-Stern - 1954 - Philosophy and Phenomenological Research 15 (2):295-298.
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  33. added 2014-12-17
    Tonspuren. Musik im Film: Fallstudien 1994 - 2001.Andreas Dorschel - 2005 - Universal Edition.
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  34. added 2014-10-31
    Feminism, Philosophy, and Queer Theory. Reformulating the Symbolic Universe: Kill Bill and Tarantino's Transcultural Imaginary.Saša Vojković - 2009 - In Warren Buckland (ed.), Film Theory & Contemporary Hollywood Movies. Routledge.
  35. added 2014-09-22
    Philosophy and the Moving Image: Refractions of Reality.John Mullarkey - 2009 - Palgrave-Macmillan.
    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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  36. added 2014-04-02
    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. We are (...)
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  37. added 2014-04-02
    Cinematic Realism Reconsidered.Rafe McGregor - 2012 - Polish Journal of Philosophy 6 (1):57-68.
    The purpose of this paper is to re-examine the debate about cinematic motion in terms of the necessity for reception conditions in art. I shall argue that Gregory Currie’s rejection of weak illusionism – the view that cinematic motion is illusory – is sound, because cinematic images really move, albeit in a response-dependent rather than garden-variety manner. In §1 I present Andrew Kania’s rigorous and compelling critique of Currie’s realism. I assess Trevor Ponech’s response to Kania in §2, and show (...)
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  38. added 2014-04-02
    Unreliability Refigured: Narrative in Literature and Film.Gregory Currie - 1995 - Journal of Aesthetics and Art Criticism 53 (1):19-29.
    Aims to improve an understanding of the theoretical issues in response to the influence of fiction. Four things in narrative unreliability; Relation between narration in literary fictions and film; Comprehension of narrative essentially a matter of intentional inference; Fictions misdescribed; Asymmetry between literature and film; Ambiguity and unreliability; Implied author and narrator.
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  39. added 2014-03-31
    Beyond Internalism and Externalism: Husserl and Sartre's Image Consciousness in Hitchcock and Buñuel.Gregory Minissale - 2010 - Film-Philosophy 14 (1):174-201.
    Husserl and Sartre’s analyses of mental imagery and some of the latest cognitive research on vision provide a framework for understanding a number of films by Hitchcock (Psycho and Rear Window) and Buñuel (Un Chien Andalou), films which similarly probe the subtleties and uses of mental imagery. One of the many ways to enjoy these films is to see them as explorations of visual phenomenology; they allow us to enact, as well as reflect upon, mental images as part of the (...)
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  40. added 2014-03-31
    Analytic Philosophy of Film: History, Issues, Prospects.Berys Gaut - 1997 - Philosophical Books 38 (3):145-156.
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  41. added 2014-03-30
    Looking for Access in Narrative Complexity : The New and the Old in Oldboy.Eleftheria Thanouli - 2009 - In Warren Buckland (ed.), Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell. pp. 217.
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  42. added 2014-03-30
    Existentialist Cinema.William C. Pamerleau - 2009 - Palgrave-Macmillan.
    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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  43. added 2014-03-30
    Puzzle Films: Complex Storytelling in Contemporary Cinema.Warren Buckland (ed.) - 2009 - 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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  44. added 2014-03-30
    The Shape of 1999: The Stylistics of American Movies at the End of the Century.Barry Salt - 2009 - In Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies. Routledge.
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  45. added 2014-03-30
    The Supernatural in Neo-Baroque Hollywood.Sean Cubitt - 2009 - In Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies. Routledge.
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  46. added 2014-03-30
    Infernal Affairs and the Ethics of Complex Narrative.Allan Cameron & Sean Cubitt - 2009 - In Warren Buckland (ed.), Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell. pp. 151.
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  47. added 2014-03-30
    Mementos of Contemporary American Cinema: Identifying and Responding to the Unreliable Narrator in the Movie Theater.Volker Ferenz - 2009 - In Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies. Routledge.
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  48. added 2014-03-30
    Frustrated Time" Narration : The Screenplays of Charlie Kaufman.Chris Dzialo - 2009 - In Warren Buckland (ed.), Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell. pp. 107.
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  49. added 2014-03-30
    Introduction: Puzzle Plots.Warren Buckland - 2009 - In Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell. pp. 1--12.
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  50. added 2014-03-30
    Backbeat and Overlap : Time, Place, and Character Subjectivity in Run Lola Run.Michael Wedel - 2009 - In Warren Buckland (ed.), Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell. pp. 129--150.
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