Cinema

Edited by Lingfei Luan (Bowling Green State University)
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380 found
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1 — 50 / 380
  1. added 2020-03-17
    Cinematic Realism: A Defence From Plato to Gaut.Rafe McGregor - 2018 - British Journal of Aesthetics 58 (3):225-239.
    The purpose of this paper is to defend a particular kind of cinematic realism, anti-illusionism, which is the thesis that cinematic motion is real. Following a brief introduction to realism and cinema in Section 1, I analyse Berys Gaut’s taxonomy of cinematic realism and define anti-illusionism in Section 2. Section 3 contrasts the anti-illusionist theories of Gregory Currie and Trevor Ponech with the illusionist theories of Andrew Kania and Gaut. I reconceptualize the debate in terms of Tom Gunning’s cinematic animation (...)
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  2. added 2020-03-03
    “You Ain’T Gonna Get Away Wit’ This, Django”: Fantasy, Fiction and Subversion in Quentin Tarantino’s, Django Unchained.Jack Black - 2019 - Quarterly Review of Film and Video 36 (7):611-637.
    From 2009 to 2015, U.S. director, Quentin Tarantino, released three films that were notable for their focus on particular historical events, periods and individuals (Inglorious Basterds 2009; Django Unchained 2012; The Hateful Eight 2015). Together, these films offered a specifically “Tarantinian” rendering of history: rewriting, manipulating and, for some, unethically deploying history for aesthetic effect. With regard to Django Unchained, this article examines how Tarantino’s historical revisionism provides a valuable point of inquiry into the ways in which “history” is depicted (...)
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  3. added 2020-01-28
    Artificial Economics.Paul Smart - 2020 - In Timothy Shanahan & Paul R. Smart (eds.), Blade Runner 2049: A Philosophical Exploration. Abingdon, UK: pp. 185–205.
  4. added 2020-01-28
    Blade Runner 2049: A Philosophical Exploration.Timothy Shanahan & Paul Smart (eds.) - 2020 - Abingdon, UK: Routledge.
    Widely acclaimed upon its release as a future classic, Denis Villeneuve’s Blade Runner 2049 is visually stunning, philosophically profound, and a provocative extension of the story in Ridley Scott’s Blade Runner. Containing specially commissioned chapters by a roster of international contributors, this fascinating collection explores philosophical questions that abound in Blade Runner 2049, including: -/- What distinguishes the authentically "human" person? How might natality condition one’s experience of being-in-the-world? How might shared memories feature in the constitution of personal identities? What (...)
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  5. added 2020-01-28
    The Joi of Holograms.Paul Smart - 2020 - In Timothy Shanahan & Paul R. Smart (eds.), Blade Runner 2049: A Philosophical Exploration. Abingdon, UK: pp. 127–148.
  6. added 2019-11-27
    Деякі зауваги до методології культурологічної аналітики кінематографа.Olga Kyrylova - 2019 - «Наукові Записки НаУКМА. Історія І Теорія Культури» 2 (9):64-71.
    У статті ставиться питання про побудову інструментальної моделі культурологічної аналітики кінематографа. Запропоновано виокремити такі її методологічні виміри: морфологічний, історико-культурологічний, культурно-типологічний, культурно-цивілізаційний, семіотичний, культурно-антропологічний та деякі інші. На відміну від універсальної, обґрунтовано специфічну культурологічну модель танатологічного аналізу кінематографа з такими рівнями: танатохронотопічним, еротанатологічним та ін.
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  7. added 2019-11-23
    The Camera Movement in Relation to Narration in Animated Films: A Practice-Oriented Study.Hadis Malekie & Mohammad Reza Hosnaee - 2016 - Journal of Dramatic Arts and Music 6 (11):81-95.
    As a core element of film language, camera movement plays a crucial role in narrative explanation, character shaping, and theme development in cinema. Although camera movements in animation movies are often implemented to add excitement to shots, their best use is when new narrative is revealed. In this paper we have studied the aspects of narration that can be presented by camera movement in animation. We put our question on whether camera movement can have a role in narration or not; (...)
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  8. added 2019-09-12
    Cryptophasia and the Question of Database.Ekin Erkan - 2019 - Triple Ampersand.
    Postmodernity’s cultural database logic and the consequent filmic characteristics of the digital age were fostered by Lev Manovich’s 1999 essay “The Database as Symbolic Form,” whereby Manovich furthered Roland Barthes’ adoption of Saussurrean sign-systems to describe cultural phenomena. In particular, Manovich applied Saussure’s description to postmodernity, delineating a juncture from modernism’s narrative-thralldom in the computer age, as “[i]nteractive interfaces foreground the paradigmatic dimension and often make explicit paradigmatic sets. Yet, they are still organized along the syntagmatic dimension” (232). The interface (...)
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  9. added 2019-08-23
    The Generic Unmasked: Reproducibility and Profanation.Ekin Erkan - 2019 - Triple Ampersand 8:5.
    Walter Benjamin’s oft-quoted 1936 essay “The Work of Art in the Age of Its Technological Reproducibility” advances the claim that, for the first time in history, the “function” of the work of art is political, as evidenced by cinema. For Benjamin, film is the “first art form whose artistic character is entirely determined by its reproducibility” and Giorgio Agamben, a contemporary Benjaminian philosopher, further elucidates this “function,” positing that cinema essentially ranks with ethics and politics, not solely with aesthetics, and, (...)
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  10. added 2019-07-05
    Кіно у творчості Василя Герасим’юка.Myroslav Laiuk - 2018 - NaUKMA Researh Papers. Literary Studies 1:70-73.
    У статті досліджено роль кіно у творчості Василя Герасим’юка. Простежено особливості використання кінематографічних прийомів, проаналізовано цитування кінокласики, розкрито значення постаті І. Миколайчука у текстах В. Герасим’юка. Розглянуто вплив «поетичного кіно» і особливо стрічки «Тіні забутих предків» на формування «карпатського тексту» поета.
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  11. added 2019-06-14
    Пропаганда у сучасному російському кінематографі.Vladyslav Levytskyi - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:29-32.
    Статтю присвячено розгляду пропаганди у сучасному російському кінематографі. Зроблено спробу оглянути і порівняти обмежену вибірку фільмів 2009–2014 рр., показати прийоми пропаганди і їх зв’язок між внутрішньою та зовнішньою політикою Російської Федерації.
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  12. added 2019-06-14
    Volodymyr Vynnychenko and the Early Ukrainian Decadent Film (1917–1918).Kirillova Olga - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:52-55.
    The article is focused on the phenomenon of the early Ukrainian decadent cinema, in particular, in relation to filmings of Volodymyr Vynnychenko’s dramaturgy. One of the brightest examples of ‘film decadence’ in Vynnychenko’s oevre is “The Lie” directed by Vyacheslav Vyskovs’ky in 1918, discovered recently in the film archives. This film displays the principles of ‘ethical symbolism’, ‘dark’ expressionist aesthetics and remains the unique masterpiece of specifically Ukranian film decadence.
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  13. added 2019-06-14
    Поезія і/чи проза: до археології однієї дискусії в радянському кіно.Briukhovetska Olga - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:33-41.
    У дослідженні проаналізовано теоретичні джерела і політичні наслідки статті московського кінокритика М. Блеймана «Архаїсти чи новатори?» (1970), яку вважають обґрунтуванням заборони школи українського поетичного кіно як «безперспективного» напряму. Статтю М. Блеймана вміщено в контекст дискусії про поетичне і прозаїчне кіно, яку систематизовано щодо двох підходів: нормативного, який вважає лише один із напрямів кіно релевантним його природі (йому відповідає сполучник «чи»), і плюралістичного, який розглядає обидва напрями як актуалізації різних кінематографічних потенцій згідно з тими завданнями, що ставлять режисери (йому відповідає сполучник (...)
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  14. added 2019-06-13
    Філософія кіно, метод моделювання та проблема декадентського кінотвору.Olga Kirillova - 2018 - NaUKMA Research Papers. History and Theory of Culture 1:17-23.
    Статтю присвячено реконструкції узагальненої моделі твору декадентського кінематографа як стилізованого кінематографа moderne, що є яскравим прикладом застосування філософської інтерпретації до кінематографа і феномену кінореальності. Ця модель має такі рівні: морфологічний, стилістичний, інтертекстуальний, ритмічний, аудіальний, тактильний, монтажний, специфічно-антропологічний і специфічно-наративний.
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  15. added 2019-06-06
    Buckland’s ‘Cognitive Semiotics of Film’. [REVIEW]Anthony Hatcher - 2005 - American Journal of Semiotics 21 (1/4):108-109.
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  16. added 2019-06-06
    Le Grand Imagier Steps Out: The Primitive Basis of Film Narration.George M. Wilson - 1997 - Philosophical Topics 25 (1):295-318.
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  17. added 2019-06-06
    The Long Goodbye: The Imaginary Language of Film.Gregory Currie - 1993 - British Journal of Aesthetics 33 (3):207-219.
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  18. added 2019-06-06
    Philosophy of the Film: Epistmology, Ontology, Aesthetics. [REVIEW]Francis Sparshott - 1990 - International Studies in Philosophy 22 (3):120-121.
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  19. added 2019-04-29
    Qvo Vadis - Scodel, Bettenworth Whither Quo Vadis? Sienkiewicz's Novel in Film and Television. Pp. X + 292, Ills. Malden, MA and Oxford: Wiley–Blackwell, 2009. Cased, £50, €67.50. ISBN: 978-1-4051-8385-7. [REVIEW]William Mccarthy - 2010 - The Classical Review 60 (2):591-593.
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  20. added 2019-03-13
    Solaris, regia Andrei Tarkovsky - Tehnica cinematografică.Nicolae Sfetcu - manuscript
    Tarkovsky a dezvoltat o teorie a cinematografiei pe care a numit-o "sculptarea în timp". Prin aceasta el a vrut să evidențieze caracteristica unică a cinematografiei ca mediu, aceea de aborda experiența noastră despre timp și de a o modifica. Filmul neregulat transcrie timpul în timp real. Folosind filmări lungi și câteva tăieturi în filmele sale, el a urmărit să ofere spectatorilor un sentiment de trecere a timpului, timpul pierdut și relația dintre un moment de timp și altul. El consideră cinematografia (...)
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  21. added 2019-03-04
    "You Can't Imagine How Terrible It Is to Make the Wrong Choice"—Faith, Agency and Self-Pity in Andrei Tarkovsky's Stalker.Dominic Lash - 2019 - Quarterly Review of Film and Video 36 (4):264-285.
    This article undertakes a reading of Andrei Tarkovsky's 1979 film Stalker that runs, for the most part, against the grain of the director's own pronouncements on the film. My focus is on a character study of the Stalker himself, and the consequences of his most unattractive characteristics: his manipulativeness, his petulance, and his self-pity. Rather than seeing the Stalker as an emblem of pure faith I explore the possibility that he is a quasi-tragic figure trapped by his own myopic idolatry. (...)
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  22. 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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  23. 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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  24. 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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  25. 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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  26. added 2017-03-13
    How Movies Do Philosophy.Wack Daniel - 2014 - Film and Philosophy 18:89-104.
  27. 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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  28. 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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  29. 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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  30. 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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  31. 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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  32. 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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  33. 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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  34. 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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  35. 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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  36. added 2016-10-17
    Il Rilievo Della Visione Movimento, Profondità, Cinema Ne Le Monde Sensible et Le Monde De L’Expression.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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  37. 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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  38. 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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  39. 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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  40. 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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  41. 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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  42. added 2015-03-18
    Film.Colin Brookes - 2009 - Philosophy Now 72:38-40.
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  43. added 2015-03-18
    Film.Todd Walters - 2009 - Philosophy Now 73:42-45.
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  44. 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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  45. 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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  46. added 2015-03-18
    A Theory of Film Language.Jerry Lee Salvaggio - 1980 - Arno Press.
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  47. added 2015-03-18
    A Viewer's Guide to Film Theory and Criticism.Robert T. Eberwein - 1979 - Scarecrow Press.
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  48. added 2015-03-17
    “It's No Longer Your Film”: Abjection and (the) Mulholland (Death) Drive.Calvin Thomas - 2006 - Angelaki 11 (2):81 – 98.
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  49. 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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  50. added 2015-03-17
    Film as Art.Haig Khatchadourian - 1975 - Journal of Aesthetics and Art Criticism 33 (3):271-284.
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