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1 — 50 / 54
  1. added 2020-05-22
    Schefer, Jean-Louis. 2016. The Ordinary Man of Cinema. [REVIEW]Ekin Erkan - 2020 - Comparative Cinema 8 (14):82-85.
    Book review of Jean-Louis Schefer's The Ordinary Man of Cinema (2016) with particular attention to Schefer's conception of affect and its influence on Deleuze.
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  2. added 2019-09-29
    Cryptophasia and the Question of Database.Ekin Erkan - 2019 - Triple Ampersand:1-29.
    Over the last thirty years, once staunchly historical cinema scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, and André Gaudreault have abandoned history for historiography and film studies for media archaeology. With increasing attention on the “database” as a symbolic metaphor for postmodernity and the decentered, networked tenants of the global present, cinema is taking on the characteristics of new media, existing in intertextual space. Thus, the term “post-cinema” has been co-opted as a viable intermediary that accounts for new (...)
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  3. added 2019-08-22
    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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  4. added 2019-01-07
    Husserl and Cinematographic Depictive Images: The Conflict Between the Actor and the Character.Regina-Nino Mion - 2016 - Studia Phaenomenologica 16:269-293.
    According to John Brough, we can use Husserl’s theory of image consciousness to explain the conflict between the actor and the character in cinematographic depictions in terms of an empirical conflict between the “image object” and the “physical thing.” I disagree with him and I shall show that the conflict between the actor and the character can only be explained in terms of a non-empirical conflict between two “image subjects.” The empirical conflict that concerns the subject is between how the (...)
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  5. added 2018-02-17
    Devices of Shock: Adorno's Aesthetics of Film and Fritz Lang's Fury.Ryan Drake - 2009 - Télos 2009 (149):151-168.
    Two critical yet comic elements, beyond the more obvious narrative of persecution, reveal themselves in Adorno's recorded nightmare. The first is comic because it so aptly displays his relentless critical impulse despite himself, the way in which theory invades the private sphere of his dreams: even in sleep, Adorno finds himself at once reading phenomena and on guard against a false transcendence from which they could, in the last instance, be deciphered.1 The second is more patently absurd, yet perhaps more (...)
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  6. added 2017-03-03
    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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  7. added 2016-03-01
    Film Worlds: A Philosophical Aesthetics of Cinema. [REVIEW]Rafe McGregor - 2016 - British Journal of Aesthetics 56 (1):106-109.
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  8. added 2015-11-25
    Merleau-Ponty and Carroll on the Power of Movies.B. Scot Rousse - 2016 - International Journal of Philosophical Studies 24 (1):45-73.
    Movies have a striking aesthetic power: they can draw us in and induce a peculiar mode of involvement in their images – they absorb us. While absorbed in a movie, we lose track both of the passage of time and of the fact that we are sitting in a dark room with other people watching the play of light upon a screen. What is the source of the power of movies? Noël Carroll, who cites Maurice Merleau-Ponty as an influence on (...)
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  9. added 2015-08-25
    Fantasmi Dell'arte: Sei Storie Con Spettatore.Filippo Fimiani - 2012 - Liguori.
    « The destiny of Art—a revenant». « The object of Art might be to seek to eliminate the necessity of the object ». This book’s theme and method stand halfway between these two assertions—the first by the German romantic poet Novalis, the second by the Californian post-minimalist artists Robert Irwin and James Turrell about a research program on art and technology in the late 1960s. Neither of these statements declares that art is dead. On the contrary, they announce that art (...)
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  10. added 2014-11-28
    The Myth of Scotland as Nowhere in Particular.John Marmysz - 2014 - International Journal of Scottish Theatre and Screen 7 (1):28-44.
    In a number of recent films, Scotland has served as the setting for dramas that could have taken place anywhere. This has occurred in two related ways: First, there are films such as Perfect Sense (2011) and Under the Skin (2013). These films involve storylines that, while they do take place in Scotland, do not require the country as a setting. Second, there are films such as Prometheus (2012),The Dark Knight Rises (2012), Cloud Atlas (2012), and World War Z (2013). (...)
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  11. added 2014-05-08
    The Closure of the 'Gold Window': From 'Camera-Eye' to 'Brain-Screen'.Morgan M. Adamson - 2013 - Film-Philosophy 17 (1):245-264.
    This essay explores the correspondence between cinema and money through an investigation of what I call the 'financialization of the image.' Drawing from the tradition of psychoanalytic film criticism and the cinematic ontology of Gilles Deleuze, it argues that the 'camera-eye' and the 'brain-screen' are distinct modes of organizing cinematic perception in capital. Furthermore, it argues that Gilles Deleuze's understanding of the brain-screen is the most adequate mode of thinking of the organization of subjective vision within control societies and the (...)
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  12. added 2014-05-08
    Catherine Wheatley (2009) Michael Haneke's Cinema: The Ethic of the Image.John Anthony Bleasdale - 2012 - Film-Philosophy 16 (1):246-250.
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  13. added 2014-05-08
    Boaz Hagin (2010) Death in Classical Hollywood Cinema.Richard Lindley Armstrong - 2011 - Film-Philosophy 15 (2):126-128.
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  14. added 2014-05-08
    Chew on This: Disgust, Delay, and the Documentary Image in Food, Inc.Jennifer Marilynn Barker - 2011 - Film-Philosophy 15 (2):70-89.
    In comparison to activist films with an “in your face” aesthetic, Food, Inc. seems positively tame. Rather than shock viewers with direct images of distasteful, disgusting, immoral, and outrageous practices in the food industry, it provokes and performs physical and moral disgust by its paradoxical (and perhaps quintessentially documentary) combination of proximity and immediacy with distance and delay. This close textual analysis reveals the film’s use of images to defer, deflect, and dodge, in such a way as to emphasize the (...)
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  15. added 2014-05-08
    Introduction - White Magic: Baudrillard and Cinema.Jon Baldwin - 2010 - Film-Philosophy 14 (2):1-5.
    An introduction to the special issue on Baudrillard with an overview of the articles included.
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  16. added 2014-05-08
    Hanns Eisler and Theodor W. Adorno (1947/2007) Composing for the Films.Leonardo Aldrovandi - 2009 - Film-Philosophy 13 (1):124-129.
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  17. added 2014-05-08
    Please Make More Films, on The Cinema of Terrence Malick: Poetic Visions of America , Edited by Hannah Patterso.John Bleasdale - 2005 - Film-Philosophy 9 (4).
    _The Cinema of Terrence Malick: Poetic Visions of America_ Edited by Hannah Patterson London: Wallflower Press, 2003 ISBN 1-903364-75-2 195 pp.
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  18. added 2014-05-08
    Apocalypse Too Soon, on Wheeler Winston Dixon's Visions of the Apocalypse: Spectacles of Destruction in American Culture.Karin Badt - 2005 - Film-Philosophy 9 (3).
    Wheeler Winston Dixon _Visions of the Apocalypse: Spectacles of Destruction in American Culture_ London: Wallflower Press, 2003 ISBN 1-903364-74-4 169 pp.
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  19. added 2014-05-08
    Disciplinary Power and Testimonial Narrative in Schindler's List.Eugene Arva - 2004 - Film and Philosophy 8:51-62.
    Steven Spielberg‘s filmed representation of the Holocaust dares its viewers to experience, as secondary witnesses, atrocities committed by the Nazis in Poland. The film is yet another form of testimonial narrative (audio-visual but lacking a full historical context, except for a few on-screen titles) which aligns the survivors, who have come to be known as the Schindler Jews, and their descendants, on the one hand, and Spielberg‘s cameraman (comparable to an internalized narrator), Spielberg the film director (an external, omniscient narrator), (...)
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  20. added 2014-05-08
    Cinema and the Aesthetics of the Dynamical Sublime: Kant, Deleuze, Heidegger and the Architecture of Film.Jerold J. Abrams - 2003 - Film and Philosophy 7:60-76.
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  21. added 2014-05-08
    Finding the Essential: A Phenomenological Look at Hal Hartley's" No Such Thing".Kevin Taylor Anderson - 2003 - Film and Philosophy 7:77-91.
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  22. added 2014-05-08
    Life as Show Time: Aesthetic Images and Ideological Spectacles.Eugene Arva - 2003 - Film and Philosophy 7:110-125.
    On September 11, 2001, many of us experienced life as what it is not: we lived an extreme instance of the spectacle, of the sublime outside the realm of ethics. Starting with a few compelling questions that the media representations of the attack on the New York World Trade Center inevitably raise, this paper explores a series of similarities, continuums, and extrapolations of the aesthetic in different types of discourse from Friedrich Schiller to Guy Debord. My assessment of the individual‘s (...)
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  23. added 2014-05-08
    Cat People : A Screening with Commentary.David Annandale - 2001 - Film-Philosophy 5 (1).
    Kim Newman _Cat People_ London: British Film Institute, 1999 ISBN: 0-85170-741-6 79 pp.
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  24. added 2014-05-08
    Deleuze's Idea of Cinema.Stephen Arnott - 2001 - Film-Philosophy 5 (2).
    _Deleuze and Guattari: New Mappings in Politics, Philosophy and Culture_ Edited by Eleanor Kaufman and Kevin Jon Heller Minneapolis: University of Minnesota Press, 1998 ISBN 0-8166-30283 320 pp.
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  25. added 2014-05-08
    Reply to Brereton.Martin Barker & Thomas Austin - 2000 - Film-Philosophy 4 (1).
    Pat Brereton 'The Audience as Reader is Seldom Caught in the Act?' _Film-Philosophy_, vol. 4 no. 26, November 2000.
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  26. added 2014-05-08
    Thinking with Cinema: Deleuze and Film Theory.Jeffrey Bell - 1997 - Film-Philosophy 1 (1).
    on 'Gilles Deleuze, Philosopher of Cinema', special issue of the journal Iris.
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  27. added 2014-05-08
    Phenomenology, Poststructuralism, and the Cinema of Time'.J. A. Bell - 1994 - Film & Philosophy (Society for the Philosophic Study of the Contemporary Visual Arts) 2.
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  28. added 2014-03-30
    Hou Xian Dai Dian Ying: Hou Xian Dai Xiao Fei She Hui de Wen Hua Qi Guan = Postmodern Cinema: A Cultural Spectacle of the Consumer Society.Jianyuan Li - 2009 - Sichuan Ren Min Chu Ban She.
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  29. added 2014-03-30
    Bréviaire de Cinéphilie Dissidente: Essai.Ludovic Maubreuil - 2009 - Alexipharmaque.
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  30. added 2014-03-29
    Deleuze Cinéphile: Storia E Teoria di Un Amore.Fabrizio Denunzio - 2010 - Liguori.
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  31. added 2014-03-29
    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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  32. added 2014-03-26
    Phenomenology and the Future of Film: Rethinking Subjectivity Beyond French Cinema.Jenny Chamarette - 2013 - Palgrave-Macmillan.
    Introduction -- Time and matter: temporality, embodied subjectivity and film phenomenology -- Knowing and nothing: Chris Marker, subjective temporalities and vocalic bodies in the future tense -- Agnès Varda's Trinket box: subjective relationality, affect and temporalised space -- Burlesque gestures and bodily attention: phenomenologies of the ephemeral in Chantal Akerman -- Threatened corporealities: thinking with the films of Philippe Grandrieux -- Conclusion: rethinking cinematic subjectivity and beyond.
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  33. added 2014-03-26
    Revolutionary Road and The Second Sex.Constance Mui & Julien Murphy - 2012 - In Jean-Pierre Boulé & Ursula Tidd (eds.), Existentialism and Contemporary Cinema: A Beauvoirian Perspective. Berghahn Books.
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  34. added 2014-03-26
    Encounters with the 'Third Age': Benguigui's Inch'Allah Dimanche and Beauvoir's Old Age.Michelle Royer - 2012 - In Jean-Pierre Boulé & Ursula Tidd (eds.), Existentialism and Contemporary Cinema: A Beauvoirian Perspective. Berghahn Books.
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  35. added 2014-03-26
    The Symbolic, the Sublime, and Slavoj Žižek's Theory of Film.Matthew Flisfeder - 2012 - Palgrave-Macmillan.
    From film theory to post-theory -- Sublime objects of cinema -- Class struggle in film studies -- Interlude: the pervert and the analyst -- Cinema, ideology, and form -- Enjoyment in the cinema -- Conclusion: theory as realism set in drive.
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  36. added 2014-03-26
    Critical Theory and Film: Rethinking Ideology in Cinema.Fabio Vighi - 2012 - Continuum.
    Introduction -- The dialectic's narrow margin: film noir between Adorno and Hegel -- On critical theory's dialectical dilemma -- a configuration pregnant with tension: Fritz Lang for critical theory -- Coda: the enjoyment of film in theory.
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  37. added 2014-03-26
    Dall'immagine Alla Vita: Introduzione Alla Cinefilosofia di Gilles Deleuze.Marcello De Gregorio - 2012 - Aracne.
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  38. added 2014-03-26
    Feminist Phenomenology and the Films of Sally Potter.Kate Ince - 2012 - In Jean-Pierre Boulé & Ursula Tidd (eds.), Existentialism and Contemporary Cinema: A Beauvoirian Perspective. Berghahn Books.
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  39. added 2014-03-26
    Simone de Beauvoir, Melodrama and the Ethics of Transcendence.Linnell Secomb - 2012 - In Jean-Pierre Boulé & Ursula Tidd (eds.), Existentialism and Contemporary Cinema: A Beauvoirian Perspective. Berghahn Books.
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  40. added 2014-03-26
    Deleuze E I Concetti Del Cinema.Daniela Angelucci - 2012 - Quodlibet.
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  41. added 2014-03-26
    Beauvoir's Children: Girlhood in Innocence.Emma Wilson - 2012 - In Jean-Pierre Boulé & Ursula Tidd (eds.), Existentialism and Contemporary Cinema: A Beauvoirian Perspective. Berghahn Books. pp. 17.
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  42. added 2014-03-25
    Film Manifestoes and Global Cinema Cultures: A Critical Anthology.Scott MacKenzie - 2014 - University of California Press.
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  43. added 2014-03-22
    The Suspended Aesthetic: Slavoj Žižek on Eastern European Film.Robert Bird - 2004 - Studies in East European Thought 56 (4):357-382.
    Slavoj iek's writings on Krzysztof Kies´lowski and Andrej Tarkovskij represent direct challenges to the Central and Eastern European tradition of spiritual art and to dominant aesthetic concepts as such. He refuses to separate the solemn films of Kies´lowski and Tarkovskij from popular culture and stresses their import as ethical statements by their directors. Despite this ethical emphasis, iek makes an important contribution to philosophical aesthetics. He implicitly defines art as a suspension of reality which reveals time in its fragility and (...)
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  44. added 2014-03-17
    Teorii͡a Smysliv Svitovoho Kino.Vasylʹ Vasylʹovych Illi͡ashenko - 2006 - Neopalyma Kupyna.
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  45. added 2014-03-17
    La Materialidad de la Forma Fílmica: Crítica de la (Sin)Razón Posestructuralista.Imanol Zumalde Arregi - 2006 - Universidad Del País Vasco , Servicio Editorial.
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  46. added 2014-03-16
    Kohti Elokuvallista Ajattelua: Virtuaalisen Todellisen Ontologia Gilles Deleuzen Ja Jean-Luc Godardin Elokuvakäsityksissä.Juha Oravala - 2008 - Jyväskylän Yliopisto.
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  47. added 2014-03-16
    Introduction : Memory, Media, Gender, and Transgressions in/Via Film and Theater.Vera Apfelthaler & Julia B. Köhne - 2007 - In Vera Apfelthaler & Julia Köhne (eds.), Gendered Memories: Transgressions in German and Israeli Film and Theatre. Turia + Kant.
  48. added 2014-03-16
    The Castrated Villain, Still Irresistible : Comments on the German Condition in Heiner Müller's The Reisistible Rise of Arturo Ui (1995).Vera Apfelthaler - 2007 - In Vera Apfelthaler & Julia Köhne (eds.), Gendered Memories: Transgressions in German and Israeli Film and Theatre. Turia + Kant.
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  49. added 2014-02-27
    Race and the Feminized Popular in Nietzsche and Beyond.Robin James - 2013 - Hypatia 28 (4):749-766.
    I distinguish between the nineteenth- to twentieth-century (modernist) tendency to rehabilitate (white) femininity from the abject popular, and the twentieth- to twenty-first-century (postmodernist) tendency to rehabilitate the popular from abject white femininity. Careful attention to the role of nineteenth-century racial politics in Nietzsche's Gay Science shows that his work uses racial nonwhiteness to counter the supposedly deleterious effects of (white) femininity (passivity, conformity, and so on). This move—using racial nonwhiteness to rescue pop culture from white femininity—is a common twentieth- and (...)
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  50. added 2013-06-16
    New Philosophies of Film: Thinking Images. [REVIEW]J. Stadler - 2013 - British Journal of Aesthetics 53 (1):131-133.
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