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  1. Film Theory After Copjec.Anthony Ballas - 2021 - Canadian Review of American Studies 1 (51):63-82.
    The importation of Lacanian psychoanalysis into film theory in the 1970s and 1980s ushered in a new era of cinema scholarship and criticism. Figures including Raymond Bellour, Laura Mulvey, and Christian Metz are often considered the pioneers of applying Lacanian psychoanalysis in the context of film theory, most notably through their writings in Screen Journal. However, where French and British scholarship on Lacan and film reached its limits, American Lacanianism flourished. When Joan Copjec’s now classic essay “The Orthopsychic Subject: Film (...)
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  2. 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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  3. The Dark Night of Ecological Despair: Awaiting Reconsecration in Paul Schrader’s First Reformed.Chandler D. Rogers & Tober Corrigan - 2020 - In Philosophy, Film, and the Dark Side of Interdependence. Lanham, Maryland: Lexington. pp. 69-81.
  4. 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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  5. 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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  6. Film Worlds: A Philosophical Aesthetics of Cinema. [REVIEW]Rafe McGregor - 2016 - British Journal of Aesthetics 56 (1):106-109.
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  7. 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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  8. 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. 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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  10. Film Manifestoes and Global Cinema Cultures: A Critical Anthology.Scott MacKenzie - 2014 - University of California Press.
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  11. 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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  12. 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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  13. 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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  14. 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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  15. New Philosophies of Film: Thinking Images. [REVIEW]J. Stadler - 2013 - British Journal of Aesthetics 53 (1):131-133.
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  16. Deleuze E I Concetti Del Cinema.Daniela Angelucci - 2012 - Quodlibet.
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  17. 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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  18. Dall'immagine Alla Vita: Introduzione Alla Cinefilosofia di Gilles Deleuze.Marcello De Gregorio - 2012 - Aracne.
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  19. 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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  20. 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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  21. Beyond Percept and Affect: Beckett's Film and Non-Human Becoming.Colin Gardner - 2012 - Deleuze and Guatarri Studies 6 (4):589-600.
    Film, Samuel Beckett's 1964 short starring Buster Keaton, dubbed by Deleuze as ‘The Greatest Irish Film’, is a seminal text in the latter's cinematic canon as it helps us to extrapolate the transition from the Bergson-based movement-image of Cinema 1 to the Nietzschean time-image of Cinema 2. Film is unique insofar as its narrative traverses and progressively destroys the action-, perception- and affection-images that constitute the movement-image as a whole, using Keaton's body, and more importantly his face, as a means (...)
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  22. 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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  23. 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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  24. New Takes in Film‐Philosophy Edited by Carel, Havi and Greg Tuck. [REVIEW]Ted Nannicelli - 2012 - Journal of Aesthetics and Art Criticism 70 (3):326-328.
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  25. 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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  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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  27. 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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  28. 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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  29. Boaz Hagin (2010) Death in Classical Hollywood Cinema.Richard Lindley Armstrong - 2011 - Film-Philosophy 15 (2):126-128.
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  30. 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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  31. 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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  32. Deleuze Cinéphile: Storia E Teoria di Un Amore.Fabrizio Denunzio - 2010 - Liguori.
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  33. 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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  34. 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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  35. 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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  36. Bréviaire de Cinéphilie Dissidente: Essai.Ludovic Maubreuil - 2009 - Alexipharmaque.
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  37. 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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  38. Kohti Elokuvallista Ajattelua: Virtuaalisen Todellisen Ontologia Gilles Deleuzen Ja Jean-Luc Godardin Elokuvakäsityksissä.Juha Oravala - 2008 - Jyväskylän Yliopisto.
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  39. 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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  40. 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.
  41. Teorii͡a Smysliv Svitovoho Kino.Vasylʹ Vasylʹovych Illi͡ashenko - 2006 - Neopalyma Kupyna.
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  42. 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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  43. 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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  44. 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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  45. 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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  46. 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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  47. 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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  48. 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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  49. 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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  50. Deleuze on Cinema.Ronald Bogue - 2003 - Routledge.
    Gilles Deleuze has produced some of the most important--and most formidable--theory on cinema to appear in the last half-century. Deleuze on Cinema provides a thorough and reliable guide to Deleuze's thought on the art of film, elucidating in clear language the shape and thrust of Deleuze's arguments found in his influential books on cinema.
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