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  1. Looking at Motion Pictures (Revised) [.Richard Allen - 2001 - Film-Philosophy 5 (1).
    I shall begin this essay by sketching some Wittgenstein-influenced arguments as to why the causal theory of perception is inadequate. However my main concern is to explore the ramifications for pictorial perception of understanding perception in terms of the causal theory. When 'our ordinary notion of perceiving' is characterized in terms of the existence of a causal connection between an object perceived and our sensory experience of that object the case of pictorial perception generates a paradox.
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  2. Film Theory and Philosophy.Richard Allen & Murray Smith (eds.) - 1997 - Oxford University Press.
    This volume of new essays energizes a growing movement in film theory which questions and seeks to overturn many of the assumptions that have governed film theory for the last twenty years. The book brings together film scholars and philosophers in a united commitment to the standards of argumentation that characterize analytic philosophy rather than a single doctrinal approach. The essays address such topics as authorship, emotion, ideology, representation, and expression in film.
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  3. La Paradoja del Suspenso Anómalo.Gemma Arguello Manresa - 2016 - Daimon: Revista Internacional de Filosofía 68:49-65.
    Resumen: En este trabajo se aborda lo que en los debates recientes de filosofía del cine se ha denominado la paradoja del suspenso. Esta paradoja radica en el problema de que algunos espectadores sienten suspenso frente a una narración que ya conocían, partiendo del presupuesto de que la incertidumbre es un estado cognitivo necesario para sentir esta emoción. Se analizan varias propuestas recientes y se ofrece una alternativa a la mismas en la que se recupera la simpatía y la anticipación (...)
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  4. Misrecognizing Film Studies.Bruce Bennett - 2000 - Film-Philosophy 4 (1).
    _Post-Theory: Reconstructing Film Studies_ Edited by David Bordwell and Noel Carroll Madison, Wisconsin: University of Wisconsin Press, 1996 ISBN: 0299149447 564 pp.
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  5. Misrecognizing Film Studies: Review of Bordwell, David, and Noel Carroll," Post-Theory: Reconstructing Film Studies". [REVIEW]Bruce Bennett - 2000 - Film-Philosophy 4 (5).
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  6. The Philosophy of Motion Pictures.Noël Carroll - 2007 - Wiley-Blackwell.
    _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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  7. Theorizing the Moving Image.Noël Carroll - 1996 - Cambridge University Press.
    A selection of essays written by one of the leading critics of film over the last two decades, this volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding a new (...)
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  8. Conventions of Viewpoint Coherence in Film.Samuel Cumming, Gabriel Greenberg & Rory Kelly - 2017 - Philosophers' Imprint 17.
    This paper examines the interplay of semantics and pragmatics within the domain of film. Films are made up of individual shots strung together in sequences over time. Though each shot is disconnected from the next, combinations of shots still convey coherent stories that take place in continuous space and time. How is this possible? The semantic view of film holds that film coherence is achieved in part through a kind of film language, a set of conventions which govern the relationships (...)
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  9. Brecht.Angela Curran - 2008 - In Paisley Livingston & Carl Plantinga (eds.), Routledge Companion to the Philosophy of Film. Routledge.
    This paper focuses on philosophical issues regarding Bertolt Brecht's engagement with film. Topics that are discussed include: Brecht's influence on filmmaking and film theory; the claim that Brecht held that mainstream films place viewers under the "illusion" that what they are watching on screen is real; Brecht's rejection of empathy; and the linkage of film form and socially critical content.
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  10. Image and Mind: Film, Philosophy and Cognitive Science.Gregory Currie - 2008 - 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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  11. A Philosophy of Cinematic Art.Berys Gaut - 2010 - Cambridge: Cambridge University Press.
    A wide-ranging and accessible study of cinema as an art form, discussing traditional photographic films, digital cinema, and videogames.
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  12. Moving Pictures: A New Theory of Film Genres, Feelings, and Cognition.Torben Grodal - 1999 - Clarendon Press.
    Providing an alternative to pyschoanalytically based descriptions, this major study presents a unique, new theoretical account of the way emotions and thought patterns interact in creating aesthetic effects in films. Using diverse examples, Torben Grodal shows how films activate effects in the viewer and how these effects are moulded by genres which determine the way in which characters will react in given situations.
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  13. The Philosophy of Motion Pictures, by Noël Carroll.Ward E. Jones - 2013 - Mind 122 (486):fzt066.
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  14. The Philosophy of Motion Pictures • by Noël Carroll.Andrew Kania - 2009 - Analysis 69 (1):194-195.
    Book review of _The Philosophy of Motion Pictures_ by Noël Carroll.
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  15. Film Worlds: A Philosophical Aesthetics of Cinema. [REVIEW]Rafe McGregor - 2016 - British Journal of Aesthetics 56 (1):106-109.
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  16. Cinematic Philosophy: Experiential Affirmation in Memento.Rafe Mcgregor - 2014 - Journal of Aesthetics and Art Criticism 72 (1):57-66.
    This article demonstrates that Memento (Christopher Nolan, 2000) meets both conditions of Paisley Livingston's bold thesis of cinema as philosophy. I delineate my argument in terms of Aaron Smuts's clarifications of Livingston's conditions. The results condition, which is concerned with the nature of the philosophical content, is developed in relation to Berys Gaut's conception of narrational confirmation, which I designate ‘experiential affirmation.’ Because experiential affirmation is a function of cinematic depiction, it meets Livingston's means condition, which is concerned with the (...)
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  17. A New/Old Ontology of Film.Rafe McGregor - 2013 - Film-Philosophy 17:265-280.
    The purpose of this paper is to examine the ontological effects of digital technology, and determine whether digital films, traditional films, and pre-traditional motion pictures belong to the same category. I begin by defining the parameters of my inquiry, and then consider the two most significant consequences of the new technology. §2 proposes a decisive refutation of the causal relationship between reality and photography. §3 identifies an end to the dominance of photorealistic film over animation, and argues for an inversion (...)
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  18. Aesthetics and Film. By Katherine Thomson‐Jones. [REVIEW]Jennifer A. Mcmahon - 2012 - Philosophical Quarterly 62 (249):865-867.
    Each chapter covers one topic and largely consists of brief summaries of arguments for and against various themes. The topic of the first chapter is whether and on what basis a film can be considered art. Photography is used as an analogy. The arguments range from considering the mechanical form of cinema as an obstacle to arthood to arguments considering cinema’s mechanical nature as essential to its arthood; the former by those who ground art in human agency, the latter by (...)
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  19. Cognitive and Philosophical Approaches to Horror.Aaron Smuts - forthcoming - In Harry Benshoff (ed.), Blackwell Companion to the Horror Film. Blackwell.
    Four main issues have occupied center stage in the analytic-cognitivist work on horror: (1) What is horror? (2) What is the appeal of horror? (3) How does it frighten audiences? and, (4) is it irrational to be scared of horror fiction?
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  20. A Philosophy of Cinematic Art, by Berys Gaut.M. Turvey - 2013 - Mind 122 (485):281-284.
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  21. Fictional Reliefs and Reality Checks.Margrethe Bruun Vaage - 2013 - Screen 54 (2).
    The present paper explores the moral psychology of fiction conceptually through the paired concepts ‘fictional relief’ and ‘reality check’. I suggest that the spectator of fictional films and television series sees himself as relieved from some of the moral obligations the spectator of nonfiction films sees himself as subject to, such as considering the consequences of a character's actions and attitudes. A fictional attitude is disturbed when elements of nonfiction are inserted into the fiction, such as the documentary photographs in (...)
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  22. Self-Reflection: Beyond Conventional Fiction Film Engagement.Margrethe Bruun Vaage - 2009 - Nordicom Review 30:159-178.
    Idiosyncratic responses as more strictly personal responses to fiction film that vary across individual spectators. In philosophy of film, idiosyncratic responses are often deemed inappropriate, unwarranted and unintended by the film. One type of idiosyncratic response is when empathy with a character triggers the spectator to reflect on his own real life issues. Self-reflection can be triggered by egoistic drift, where the spectator starts imagining himself in the character’s shoes, by re-experiencing memories, or by unfamiliar experiences that draw the spectator’s (...)
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