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  1. Cinema as a Representational Art.Catharine Abell - 2010 - British Journal of Aesthetics 50 (3):273-286.
    In this paper, I develop a unified account of cinematic representation as primary depiction. On this account, cinematic representation is a distinctive form of depiction, unique in its capacity to depict temporal properties. I then explore the consequences of this account for the much-contested question of whether cinema is an independent representational art form. I show that it is, and that Scruton’s argument to the contrary relies on an erroneous conception of cinematic representation. CiteULike Connotea Del.icio.us What's this?
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  2. 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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  3. 3 D Film and Cyclopic Effect.Gunther Anders-Stern - 1954 - Philosophy and Phenomenological Research 15 (2):295-298.
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  4. What Cinema Is!: Bazin's Quest and its Charge.Dudley Andrew - 2010 - Wiley-Blackwell.
    Preface: The target of film theory -- Camera searching in the world -- Is a camera essential? -- Cahiers axiom -- Tracing Bazin's trace -- Images contested today -- Editor's discovery of form -- Bazin's forerunners -- Documentaries in the cauldron of history -- Cahiers line -- Pursuing cinema in the twenty-first century -- Projector as spectator's searchlight -- Power of projection -- Opening the screen's dimensions -- Frame as threshold -- Writing out of the frame -- Evolution of the (...)
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  5. Concepts in Film Theory.Dudley Andrew - 1984 - Oxford University Press.
    Concepts in Film Theory is a continuation of Dudley Andrew's classic, The Major Film Theories. In writing now about contemporary theory, Andrew focuses on the key concepts in film study -- perception, representation, signification, narrative structure, adaptation, evaluation, identification, figuration, and interpretation. Beginning with an introductory chapter on the current state of film theory, Andrew goes on to build an overall view of film, presenting his own ideas on each concept, and giving a sense of the interdependence of these concepts. (...)
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  6. "Twist Blindness" : The Role of Primacy, Priming, Schemas, and Reconstructive Memory in a First-Time Viewing of The Sixth Sense.Daniel Barratt - 2009 - In Warren Buckland (ed.), Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell. pp. 62--87.
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  7. Multimodal Film Analysis: How Films Mean.John A. Bateman - 2012 - Routledge.
    Analysing film. Distinguishing the filmic contribution to meaning -- Examples of filmic "textual organisation" -- Redrawing boundaries -- Organisation of the book -- Semiotics and documents. Semiotics and its relations to film -- The nature of discourse semantics -- The film as cinematographic document -- A combined view: filmic documents for filmic discourse -- Constructing the semiotic mode of film. Semiotic multimodality -- The internal organisation of semiotic strata -- Composing and combining semiotic modes -- Materiality and "epistemological commitment" -- (...)
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  8. Cinema of Choice: Optional Thinking and Narrative Movies.Nitzan S. Ben-Shaul - 2012 - Berghahn Books.
    Introduction -- Closed mindedness in movies -- Failed alternatives to optional thinking -- Optional thinking in movies -- Conclusion.
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  9. Griots and Talanoa Speak: Storytelling as Theoretical Frames in African and Pacific Island Cinemas.Yifen Beus - 2012 - In Saër Maty Bâ & Will Higbee (eds.), De-Westernizing Film Studies. Routledge.
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  10. Film, Music, and the Redemption of the Mundane.Giorgio Biancorosso - 2004 - In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge.
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  11. Book Review - 'Framed: Women in Law and Film' by Orit Kamir. [REVIEW]Katherine Biber - unknown
    Book Review : Framed: Women in Law and Film, by Orit Kamir, Duke University Press: 2006.
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  12. Review Essay: Bowling for Paranoid Nationalism: A Review of Michael Moore's Film, 'Bowling for Columbine' After Reading Ghassan Hage's Book, 'Against Paranoid Nationalism'. [REVIEW]Katherine Biber & Tim Stephens - unknown
    Review Essay: Bowling for Paranoid Nationalism: A Review of Michael Moore's Film Bowling for Columbine after Reading Ghassan Hage's Book Against Paranoid Nationalism.
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  13. Profane Mythology: The Savage Mind of the Cinema.Yvette Bíró - 1982 - Indiana University Press.
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  14. Loyalty, Utility, and Integrity in Casablanca: The Use of Film in Explicating Philosophical Disputes Concerning Utilitarianism.Thomas Bivins - 2007 - Journal of Mass Media Ethics 22 (2 & 3):132 – 150.
    Can concepts such as loyalty and integrity remain intrinsically valuable personal traits even as we devote ourselves to that which requires the loyalty in the first place (the greater good)? Does utilitarian deliberation rest on too extreme a notion of impartiality - one that focuses exclusively on the consequences of actions, leaving people, in the words of Bernard Williams, "mere faceless numbers"? Using the film Casablanca as an extended analogy, this article attempts to reconcile the concept of loyalty to a (...)
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  15. 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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  16. Narration in the Fiction Film.David Bordwell - 1985 - University of Wisconsin Press.
    In this study, David Bordwell offers the first comprehensive account of how movies use fundamental principles of narrative representation, unique features of ...
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  17. Cédric Klapisch's The Spanish Apartment and Russian Dolls in Nausea's Mirror.Jean-Pierre Boulé - 2011 - In Jean-Pierre Boulé & Enda McCaffrey (eds.), Existentialism and Contemporary Cinema: A Sartrean Perspective. Berghahn Books.
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  18. Horror's Philosophic Auteurs: Heidegger, the Uncanny, and Jacques Tourneur's Horror Films.Curtis Bowman - 2003 - In Steven Jay Schneider & Daniel Shaw (eds.), Dark Thoughts: Philosophic Reflections on Cinematic Horror. Scarecrow Press.
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  19. Telling Time: Essays of a Visionary Filmmaker.Stan Brakhage - 2003 - Documentext.
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  20. Essential Brakhage: Selected Writings on Filmmaking.Stan Brakhage - 2001 - Documentext.
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  21. Film Review.Katrina A. Bramstedt - 2010 - Journal of Bioethical Inquiry 7 (3):333-334.
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  22. Projecting a Camera : Language-Games in Film Theory.Edward Branigan - 2006 - Routledge.
    In Projecting a Camera, film theorist Edward Branigan offers a groundbreaking approach to understanding film theory. Why, for example, does a camera move? What does a camera "know"? (And when does it know it?) What is the camera's relation to the subject during long static shots? What happens when the screen is blank? Through a wide-ranging engagement with Wittgenstein and theorists of film, he offers one of the most fully developed understandings of the ways in which the camera operates in (...)
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  23. Sound and Epistemology in Film.Edward Branigan - 1989 - Journal of Aesthetics and Art Criticism 47 (4):311-324.
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  24. Film.Colin Brookes - 2009 - Philosophy Now 72:38-40.
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  25. Has Film Ever Been Western? Continuity and the Question of Building a "Common" Cinema.William Brown - 2012 - In Saër Maty Bâ & Will Higbee (eds.), De-Westernizing Film Studies. Routledge.
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  26. Man Without a Movie Camera, Movies Without Men: Towards a Posthumanist Cinema?William Brown - 2009 - In Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies. Routledge. pp. 66--85.
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  27. Film Theory: Rational Reconstructions.Warren Buckland - 2012 - Routledge.
    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 of reflection (...)
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  28. 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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  29. Film Theory and Contemporary Hollywood Movies.Warren Buckland (ed.) - 2009 - Routledge.
    This volume offers a representative sampling of current research generated by both young and established film scholars from the different schools of thought ...
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  30. Introduction: Puzzle Plots.Warren Buckland - 2009 - In Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell. pp. 1--12.
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  31. Making Sense of Lost Highway.Warren Buckland - 2009 - In Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell. pp. 42.
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  32. Theory of Film Practice.Noël Burch - 1981 - Princeton University Press.
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  33. A Philosophical and Critical Inquiry Into Film Semiotics.Ronald Frank Burnett - unknown
    During the past decade film analysis and semiotic inquiry have meshed to produce significant changes in film theory. This thesis discusses the philosophical and epistemological shift represented by this development, resulting in the creation of semiotic models which consistently overemphasize the textual framework for cinematic expression. As a result, problems of performance and interpretation are ignored.
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  34. Blackness is Noir: Flory's Philosophical Investigation of the Black Noir Genre in Film. [REVIEW]Brian E. Butler - 2010 - Film-Philosophy 14 (1):332-336.
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  35. Film Criticism: A Counter Theory.William Cadbury - 1982 - Iowa State University Press.
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  36. 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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  37. On Mathematics, Music, and Film.Evan Cameron - 1970 - [Available From Art and Nature].
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  38. The Fall of the House of Ulmer: Europe Vs. America in the Gothic Vision of the Black Cat.Paul A. Cantor - 2010 - In Thomas Richard Fahy (ed.), The Philosophy of Horror. University Press of Kentucky.
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  39. Art-House Cinema, Avant-Garde Film, and Dramatic Modernism.Bert Cardullo - 2011 - Journal of Aesthetic Education 45 (2):1-16.
    The most important modes of film practice, in my view, are art-house cinema and the avant-garde, both of which contrast with the classical Hollywood mode of film practice. While the latter is characterized by its commercial imperative, corporate hierarchies, and a high degree of specialization as well as a division of labor, the avant-garde is an “artisanal” or “personal” mode. Avant-garde films tend to be made by individuals or very small groups of collaborators, financed either by the filmmakers alone or (...)
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  40. New Takes in Film-Philosophy.Havi Carel & Greg Tuck (eds.) - 2011 - Palgrave-Macmillan.
    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 applies theoretical approaches to particular films (...)
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  41. Film/Mind Analogies: The Case of Hugo Munsterberg.Noël Carroll - 1988 - Journal of Aesthetics and Art Criticism 46 (4):489-499.
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  42. Film and Phenomenology: Toward a Realist Theory of Cinematic Representation.Allan Casebier - 1991 - Cambridge University Press.
    In Film and Phenomenology, Allan Casebier develops a theory of representation first indicated in the writings of the father of phenomenology, Edmund Husserl, and then applies it to the case of cinematic representation. This work provides one of the clearest expositions of Husserl's highly influential but often obscure thought. It also demonstrates the power of phenomenology to illuminate the experience of the art form unique to the twentieth-century cinema. Film and Phenomenology is intended as an antidote to all hitherto existing (...)
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  43. Theories of Cinema, 1945-1995.Francesco Casetti - 1999 - University of Texas Press.
    The study of film entered a new era after World War II, as cinema became an acceptable focus for intellectual inquiry. The many ways in which cinema has been imagined, studied, and discussed in the last fifty years are the subject of this comprehensive overview of film theory in the United States and Europe since 1945. Francesco Casetti groups his essays around principal movements in film studies. In the first part of the book, he reviews the attempts at defining the (...)
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  44. In Defence of Fictional Incompetence.Dan Cavedon-Taylor - 2010 - Ratio 23 (2):141-150.
    The claim that photographs are fictionally incompetent (i.e. that they can only depict those particulars they are appropriately causally related to) is argued by Noël Carroll, Gregory Currie, and Nigel Warburton to be falsified by cinematic works of fiction. In response I firstly argue that it does not follow from cinema's having a capacity for the representation of ficta that photography has a capacity for the representation of ficta. Secondly, and inspired by the work of Roger Scruton, I develop an (...)
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  45. Cavell on Film.Stanley Cavell - 2005 - State University of New York Press.
    In his introduction, William Rothman provides an overview of Cavell's work on film and his aims as a philosopher more generally."--BOOK JACKET.
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  46. The World Viewed: Reflections on the Ontology of Film.Stanley Cavell - 1979 - Harvard University Press.
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  47. The World Viewed.Stanley Cavell - 1971 - New York: Viking Press.
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  48. Empty Moments: Cinema, Modernity, and Drift.Leo Charney - 1998 - Duke University Press.
    In Empty Moments, Leo Charney describes the defining quality of modernity as "drift" - the experience of being unable to locate a stable sense of the present.
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  49. The Death of Cinema: History, Cultural Memory, and the Digital Dark Age.Paolo Cherchi Usai - 2001 - Bfi.
    It is estimated that about one and a half billion hours of moving images were produced in 1999, twice as many as a decade before. If that rate of growth continues, one hundred billion hours of moving images will be made in the year 2025. In 1895 there were just above forty minutes of moving images to be seen, and most of them are now preserved. Today, for every film made, thousands of them disappear forever without leaving a trace. Meanwhile, (...)
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  50. A Philosophy of Cinematic Art by Gaut, Berys.Jinhee Choi - 2011 - Journal of Aesthetics and Art Criticism 69 (2):235-237.
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1 — 50 / 361