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  1. Modifications to Aristotle's Poetics.E. Garrett Ennis - manuscript
    Aristotle's Poetics has been the basis for theories of entertainment for over 2,000 years. But the general approach it uses has led to a number of gaps, contradictions, and difficulties in predicting the success of books, plays, movies, and entertainment as a whole, so much so that sayings like "there are no rules, but you break them at your peril," and "in Hollywood, nobody knows anything" have become widespread and accepted. -/- However, it turns out that a model of entertainment (...)
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  2. "How Humor Works" Introduction - The "Holy Grail" Humor Theory in One Page.Ernest Garrett - manuscript
    This paper introduces the "Status Loss Theory of Humor," as detailed in "How Humor Works" and "How Humor Works, Part II" , in a single page. This theory has the potential to fully, clearly, and naturally explain the human humor instinct, and has made predictions that are being confirmed by other studies.
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  3. How Humor Works - A Clear Proposal For a Classic Question.Ernest Garrett - manuscript
    A short, clear and complete theory that explains the origins and properties of the human humor instinct, which has been the subject of incomplete research for thousands of years. The paper's theory uses evolutionary psychology and a basic informal equation, and unites the findings of the previous theories, including explaining the logical basis behind many types of humor as well as the common sayings associated with it.
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  4. How Humor Works, Part II - Status Loss Theory as the Logical Basis of All Forms of Humor.Ernest Garrett - manuscript
    This paper takes the Status Loss Theory (introduced and explained in the first "How Humor Works" paper), and applies it to 40 real-world examples, including memes, radio and TV shows, movie and comic book tropes, song parodies, humor sayings, stand-up comedy cliches, known psychological quirks of humor, and more, to demonstrate the theory's potential to function as the first clear, complete, logical, and simple basis for defining, studying, and understanding humor in all of its forms.
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  5. La technique cinématographique d'Andreï Tarkovsky dans Solaris.Nicolae Sfetcu - manuscript
    Tarkovsky s’est opposé au montage et a considéré que la base de l’art cinématographique (l’art du film) est le rythme interne des images. Il a considèré le cinéma comme une représentation des courants distinctifs ou des ondes de temps, transmis dans le film par son rythme interne. Le rythme est au cœur du « film poétique ». Un rythme comme un mouvement dans le cadre (« la sculpture dans le temps »), pas comme une séquence d'images dans le temps. Le (...)
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  6. Solaris, Andrei Tarkovsky – Filosofia.Nicolae Sfetcu - manuscript
    Filmul Solaris (1972) al lui Andrei Tarkovski poate fi abordat prin prisma filosofiei minții, a întrebărilor esențiale în acest domeniu. Aceste întrebări se referă la personalitate și suferință, care acoperă cel puțin perioada de la Rene Descartes la filosofii moderni, precum Derek Parfit și Hilary Putnam. Solaris apare ca un vehicul adecvat pentru a explora provocările filosofice. De altfel, filmul Solaris al lui Tarkovsky permite multiple interpretări semantice. În același timp, Solaris prezintă un exemplu excelent despre modul în care spațiile (...)
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  7. Heterotopia of the Film Solaris Directed by Andrei Tarkovski.Nicolae Sfetcu - manuscript
    In Solaris, within the limits of heterotopic experience, several theoretical and ontological questions are examined through approaches on each character. Berton declares one of the main philosophical themes of the movie when he tells Kelvin: "You want to destroy that which we are presently incapable of understanding? Forgive me, but I am not an advocate of knowledge at any price. Knowledge is only valid when it's based on morality." The ocean does not mean anything as an object, it simply exists. (...)
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  8. The Browsing Subject: Phenomenology and the Internet on Pandemic Time.Hannibal Travis - manuscript
    Does browsing the world through a screen change a person, especially in the context of COVID-19? Recent studies indicate that self-care, psychological well-being, and empathy may suffer. The “Californian ideology” privileges expression of the self even as digital technology tends to interrupt the modern trend towards elaborating distinct selves via texts that convey knowledge. Meanwhile, digital browsing may be fracturing attention and empathy. -/- As these changes proceed, legislators react to a medical and social crisis. Relaxation of business, community center, (...)
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  9. Nihilism and Reality in Akira Kurosawa's Rashomon (1949 Movie).Marcos Wagner Da Cunha - manuscript
    This essay is part of a doctoral dissertation presented to the Department of Philosophy, University of São Paulo, in 1993, named 'Genealogy of the Real' . Its core idea is a Nietzschean approach to a masterpiece among philosophical inspired movies, namely, Akira Kurosawa's Rashomon, which surely touches deep groundings of the concept of truth and reality.
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  10. A Holy Dullness: Tarkovsky, Suture, and the Numinous.Ryan Wittingslow - forthcoming - In Venetia Laura Delano Robertson & Carole M. Cusack (eds.), Handbook of Contemporary Religion, Film and Television. Brill.
    In this chapter, I argue that the films of Andrei Tarkovsky are particularly suitable for inducing feelings of the numinous. This suitability is a formal rather than semantic feature of his films, and is tied indelibly to what film scholars call ‘suture’. I with a summary of what film theorists mean by ‘suture’, before providing a principled defence of the Merleau-Pontian suture theory outlined by George Butte. Second, I will demonstrate that, in spite of the strength of Butte’s formulation, the (...)
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  11. "Less Than a God, More Than a Man" Is It Morally Wrong to Make a Kwisatz Haderach?Alexandru Dragomir - 2022 - In Kevin S. Decker (ed.), Dune and Philosophy: Minds, Monads, and Muad'Dib. Wiley-Blackwell. pp. 179-188.
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  12. Derek Jarman and Everything That Is the Case.Joshua Gang - 2022 - Critical Inquiry 48 (4):631-651.
  13. Cracks in the Separation Wall: Resisting Security and Global Problems of Truth in Khaled Jarrar’s Film Infiltrators.Jared Gee - 2022 - Postcolonial Text 17 (1):1-20.
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  14. Making a Video Documentary on Fake News and Disinformation in Bangladesh: Critical Reflections and Learning.Md Mahmudul Hoque - 2022 - Advances in Journalism and Communication 10 (2):136-148.
    The issue of fake news and disinformation remains widespread in Bangladesh. The author produced a video documentary “Making OR Faking” that focuses on how this issue affects journalism practices in the mainstream media in Bangladesh. In this piece, the author reflects on how the making of the documentary shaped his understanding of the issue. Undertaking a qualitative approach, the author used semi-structured interviews to explore the insights and perspectives of key informants. Critical reflections on the methodological aspects of the filmmaking (...)
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  15. How Do We Distinguish the Holy From the Demonic? An Anthropotheistic Meditation on Mike Flanagan’s Midnight Mass.Christoffer Lammer-Heindel - 2022 - Blackwell Philosophy and Pop Culture Series Blog.
    An examination of themes from the works of Ludwig Feuerbach and Søren Kierkegaard as they relate to Mike Flanagan’s series, Midnight Mass.
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  16. Nietzsche in Hollywood: Images of the Übermensch in Early American Cinema.Matthew Rukgaber - 2022 - Albany, NY, USA: State University of New York Press.
    ISBN 978-1-4384-9027-4 Argues that Nietzsche’s idea of the Übermensch was a central concern of filmmakers in the 1920s and 1930s. -/- Nietzsche in Hollywood offers a compelling and startling history of Hollywood film in which the German philosopher Friedrich Nietzsche and his idea of the Übermensch looms large. Though Nietzsche’s philosophy was attacked as egoistic and a sociopathic version of Darwinism in films from the 1910s, it undergoes a series of cinematic and philosophical transformations in the 1920s and 1930s under (...)
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  17. Tony “Two-Toes”: The Pragmatics of Nicknames in Films.Kristina Šekrst - 2022 - Quarterly Review of Film and Video.
    Films frequently employ nicknames not only for villains but also for non-criminal characters. In this paper, I present a classification of nicknames used in films, along with various examples, mostly from crime-related films. I argue that the use of nicknames in films is important not for the sake of reference, but for the sake of an additional narrative told by the nickname as a shorthand description of a character's background (cf. Tony “Two-Toes”, “Dirty” Harry, “Doc” Erwin or “Hatchet” Harry Lonsdale). (...)
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  18. “A Form of Socially Acceptable Insanity”: Love, Comedy and the Digital in Her.Jack Black - 2021 - Psychoanalysis, Culture and Society 26 (1):25-45.
    In Spike Jonze’s Her (2013), we watch the film’s protagonist, Theodore, as he struggles with the end of his marriage and a growing attachment to his artificially intelligent operating system, Samantha. While the film remains unique in its ability to cinematically portray the Lacanian contention that “there is no sexual relationship,” this article explores how our digital non-relationships can be re-approached through the medium of comedy. Specifically, when looked at through a comic lens, notable scenes from Her are examined for (...)
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  19. Problemas en torno al retrato en el cine.David Vázquez Couto - 2021 - In Universitas: las artes ante el tiempo. Actas del XXIII Congreso Nacional de Historia del Arte. Salamanca, España: pp. 695-704.
    The analytical and mechanical register capacity of cinema seems to promise, finally, the authentic representation of man through his face. Taking as a reference the modern portrait, whose historical and theoretical conceptual and formal ambiguity is forged from the 15th century onwards within the limits of painting, we will try to approach the problem of portraiture in cinema taking into account the ontological specificities of the medium.
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  20. Minding the Future: Artificial Intelligence, Philosophical Visions and Science Fiction.Barry Francis Dainton, Will Slocombe & Attila Tanyi (eds.) - 2021 - Springer.
    Bringing together literary scholars, computer scientists, ethicists, philosophers of mind, and scholars from affiliated disciplines, this collection of essays offers important and timely insights into the pasts, presents, and, above all, possible futures of Artificial Intelligence. This book covers topics such as ethics and morality, identity and selfhood, and broader issues about AI, addressing questions about the individual, social, and existential impacts of such technologies. Through the works of science fiction authors such as Isaac Asimov, Stanislaw Lem, Ann Leckie, Iain (...)
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  21. “I Saw a Different Life. I Can't Stop Seeing It”: Perfectionist Visions in Revolutionary Road.Paul Deb - 2021 - Film-Philosophy 25 (3):251-271.
    In this article, I claim that Sam Mendes' Revolutionary Road is a recent version of the film genre that Stanley Cavell calls the “melodrama of the unknown woman”. Accordingly, my discussion focuses on two key elements of that identification: the film's overriding dramatic and thematic emphasis on conversation; and the central characters’ relation to the wider social and political concerns of America.
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  22. I Am Legend as Philosophy: Imagination in Times of Pandemic... A Mutation Towards a "Second Reality"?Rachad Elidrissi - 2021 - Journal of Science Fiction and Philosophy 4:1-20.
    A planetary panic and almost deserted cities, fear of food shortages, and the growing threat of an invisible virus that does more damage day by day. In the time of the COVID-19 pandemic, many believe that science fiction has now been overtaken by reality. In these times of adversity, what does it take to survive when the world comes crashing down? How do humans stay resilient, manage their growing stress, and somehow navigate through the crisis? More specifically, how do humans (...)
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  23. International Aspects of Recent Phenomena in Media and Culture.Martin A. M. Gansinger - 2021 - Newcastle: Cambridge Scholars Publishing.
    The volume provides an updated perspective on international aspects of various developments in media and culture. It includes discussions on how the digital environment contributes to the transformation and re-interpretation of existing phenomena, such as violence-on-demand in online movies, the internet appeal of virtual gangsta rappers, or the revived battle rap tradition, which operates outside the commercial limitations of the music industry and generates more views on social media than most recording artists. -/- The book offers a new consideration of (...)
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  24. New Publication as Book in Focus at Cambridge Scholars.Martin A. M. Gansinger - 2021 - Newcastle upon Tyne, Newcastle-upon-Tyne, Royaume-Uni: Cambridge Scholars.
    This book can be seen as both, a celebration of past and present achievements of creative expression, artistic articulation, cultural contributions, and mediated movements for the sake of liberalization and democracy, and a warning against a “cultural revolution” defined by censorship, suppression of pluralist opinions, unnatural conformity in science and journalism, and the distinction between “fake news” and “fact” handled by artificial intelligence or part-time fact checkers.
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  25. International Aspects of Recent Phenomena in Media and Culture Sample Pages.Martin A. M. Gansinger & Ayman Kole - 2021 - Newcastle upon Tyne, Newcastle-upon-Tyne, Royaume-Uni: Cambridge Scholars Publishing.
    This book was compiled in order to connect the dots between past and present expressions of significant phenomena in media and culture. It attempts to provide a “big picture” perspective on how contemporary relevant manifestations of the entertainment industry, artistic expression, mediated civic engagement, technological infrastructure, or automated information control evolved from subversive surroundings, niche markets, and underestimated potentials to shaping forces in today's society. This book can be seen as both, a celebration of past and present achievements of creative (...)
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  26. Revisiting 'Falling Man' at 20: The 9/11 Archive and Missing Images of Jumpers.Jared Gee - 2021 - Comparative American Studies: An International Journal 2021 (2021):1-14.
  27. Philosophy and Film: Bridging Divides.Britt Harrison - 2021 - Debates in Aesthetics 16 (1).
    A Review of a collected volume of papers at the intersection of film and philosophy.
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  28. “Teach Me To Do What’s Right”: Faith, Hope, and Love as Post-Religious Virtues.A. G. Holdier - 2021 - Journal for Cultural and Religious Theory 20 (3).
    According to Thomas Aquinas, what distinguishes the theological from the cardinal virtues is the nature of their object: the latter aim at the natural excellence of humans, while the former direct us beyond ourselves to focus on the Divine. This paper considers the cinematic work of Drew Goddard — in particular, his 2018 film _Bad Times at the El Royale_ — as a post-religious response to Aquinas, insofar as it retains and re-presents Faith, Hope, and Love as valuable elements of (...)
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  29. If Nancy Doesn’T Wake Up Screaming: The Elm Street Series as Recurring Nightmare.Steve Jones - 2021 - In Mark McKenna & William Proctor (eds.), Horror Franchise Cinema. London, England: Routledge. pp. 81-93.
    Long-running horror series are reputed to yield diminishing returns (both in terms of profit and quality). At first glance, the A Nightmare on Elm Street series appears to fit that established pattern. For instance, lead antagonist Freddy supposedly ‘deteriorates’ from sinister, backlit child molester to comic-book ‘Las Vegas lounge’ stand-up act by the end of the 1980s (Schoell and Spencer 1992, 116). However, interviews from the period indicate that comedy was a central component from the outset of the series; it (...)
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  30. (Re)Producing Marriage.Dominic Lash - 2021 - Film and Philosophy 25:1-22.
    This article considers aspects of Stanley Cavell’s film-philosophy in the light of Paul Thomas Anderson’s 2017 film Phantom Thread, and vice versa. Methodologically, it concentrates on the interpretation of Cavell’s writing and of Anderson’s film. In arguing that Phantom Thread has affinities with Cavell’s famous cinematic genre of remarriage comedy, the article addresses Cavell’s understanding of the production of what Wittgenstein calls “criteria.” Affirming Steven J. Affeldt’s insistence that the production of criteria is occasioned by crisis, the article explores the (...)
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  31. Rupture, Suture, Nietzsche: Impossible Intersubjectivity in Alien.Dominic Lash - 2021 - Film-Philosophy 25 (3):229-250.
    The concept of suture has long been an important and controversial concept in investigations of the relationships between narrative, diegesis, character, and spectator. The dominant understanding of suture has paid more attention to its Lacanian derivation – and to the account given by Daniel Dayan – than to the work of Jean-Pierre Oudart which first introduced suture into Film Studies. This article, however, follows the recent work of George Butte, who argues that the way Oudart understands suture is very illuminating (...)
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  32. Learning From COVID-19: Virtue Ethics, Pandemics and Environmental Degradation: A Case Study Reading of The Andromeda Strain (1971) and Contagion (2011).Fiachra O'Brolcháin & Pat Brereton - 2021 - Journal of Science Fiction and Philosophy 4.
    This paper uses virtue ethics to discuss the COVID-19 outbreak, Hollywood science-fiction/pandemic films, and the environmental crisis. We outline the ideas of hubris and nemesis and argue that responding to the COVID-19 pandemic requires that we develop virtues. We will explore these ethical issues through an eco-reading (Hiltner 2018) of two popular films cinematic representation of pandemics, The Andromeda Strain (1971) and Contagion (2011). Fictional narratives are particularly adept at celebrating the moral and intellectual virtues of individuals (as is standard (...)
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  33. The Influence of Over-the-Top Television Services on Consumer Television Viewing Behaviours in South Africa.Robertson K. Tengeh & Nokuphiwa Udoakpan - 2021 - Management Dynamics in the Knowledge Economy 9 (2):1- 4..
    A significant change in consumer viewing habits has taken place globally with the introduction and growth of over-the-top television services (OTT TV). In the absence of scientific evidence on television consumer behavior viewership changes, this paper's objective was to ascertain the television viewing patterns, given the rise of OTT TV services in South Africa. The study adopted a quantitative research approach using a convenience sampling method. Online survey questionnaires were distributed on reputable social media networks and collected 391 responses. The (...)
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  34. El espacio de la ficción es el tiempo del espectador: la reflexividad de la mirada a la cámara en 'Un verano con Mónica'.David Vázquez Couto - 2021 - Ars Longa. Cuadernos de Arte 30:309-323.
    Summer with Monika (Ingmar Bergman, 1952) was a point of reference for filmmakers searching new ways of filmmaking during the 1960s and 1970s because it anticipated the characteristic reflexivity of cinematic modernity because of the protagonist’s look at the camera. By unexpectedly bursting into the narrative, this gaze becomes a self-conscious strategy aimed at disarticulating not only the cinematic fiction, but also Monika’s fiction, which has symbolically appropriated the imaginary world projected by cinema.
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  35. Fernando González García, Paulo Cunha y Filipa Rosário (coords.). Procesos intermediales. Cine, literatura, espacio. Madrid: Sial Pigmalión, 2020, 300 pp. [REVIEW]David Vázquez Couto - 2021 - Estudios de Teoría Literaria. Revista Digital: Artes, Letras y Humanidades 10 (22):193-196.
  36. Introduction: The Leftovers, Philosophy and Popular Culture.Susana Viegas - 2021 - Cinema: Journal of Philosophy and the Moving Image 13 (13):7-20.
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  37. On Experience and Illumination: Werner Herzog’s Dialectical Relation with Society.Stefanie Baumann - 2020 - In M. Blake Wilson & Christopher Turner (eds.), The Philosophy of Werner Herzog. Lanham, Boulder, New York, London: pp. 187-201.
    When Werner Herzog states, in his famous Minnesota Declaration, “[fa]cts create norms, and truth illumination”, he not only opposes his own idea of truth as spiritual experience to the notion of factual truth based on a seemingly unmediated representation of reality and purely rational principles. He also points to a societal problem inherent to such hegemonic attributions of veracity as advocated by the representatives of what he calls “Cinema Vérité”: their “truth of accountants” generates a normative perception and understanding of (...)
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  38. Planet of the Apes and Philosophy: Great Apes Think Alike (Open Court, 2013). [REVIEW]Stephano Bigliardi - 2020 - Journal of Science Fiction and Philosophy 3:1-10.
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  39. Film: Joker.Stefan Bolea - 2020 - Philosophy Now 136:46-47.
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  40. Wombs, Wizards, and Wisdom: Bilbo's Journey From Childhood in The Hobbit.Rory W. Collins - 2020 - Crossing Borders: A Multidisciplinary Journal of Undergraduate Scholarship 4.
    In The Hobbit, J. R. R. Tolkien constructs middle-aged Bilbo Baggins as a sheltered and emotionally immature ‘child’ during the opening chapters before tracing his development into an autonomous, self-aware adult as the tale progresses. This article examines Tolkien’s novel qua bildungsroman through both a literary lens—considering setting, dialogue, and symbolism, among other techniques—and via a psychological framework, emphasizing an Eriksonian conception of development. Additionally, Peter Jackson’s three-part film adaptation of The Hobbit is discussed throughout with ways that Jackson succeeds (...)
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  41. Accidents Made Permanent: Theater and Automatism in Stanley Cavell, Michael Fried, and Matías Piñeiro.Byron Davies - 2020 - Modern Language Notes 135 (5):1283-1314.
    This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of his claim (...)
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  42. MANIFESTATIONS OF NIGERIA'S NATIONAL EXPERIENCES IN CHRIS NWAMUO'S THE PRISONERS.Stanislaus Iyorza (ed.) - 2020 - Calabar: University of Calabar Press.
    In Nigeria, if the effects of development policies were felt by every Nigerian citizen, the search for respite would have assumed committed and prompt dimensions. Common hindrances to social development seem to be inflation, corruption, embezzlement, extreme ethnicity, selfishness and man's inhumanity to man. Nigeria has suffered exploitation in two phases: first in the colonial era, and second, during the post-colonial era, in which the nation is struggling against the forces of independent colonialism by its own people. Nigerians have approached (...)
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  43. Divine Dna? “Secular” and “Religious” Representations of Science in Nonfiction Science Television Programs.Will Mason-Wilkes - 2020 - Zygon 55 (1):6-26.
  44. Arts Entrepreneurship Through Strategic Collaboration in Korean Classical Music.Jieun Park & Joanne Bernstein - 2020 - Journal of Arts and Humanities 9 (8).
    Arts Entrepreneurship is a comparatively new concept in arts management however, it is inevitable for the arts, especially classical music to adapt the concept for its survival. This article investigates how arts entrepreneurship is executed through strategic collaboration in three different cases of classical music organizations in Seoul, Korea: Yellow Lounge Seoul, Ensemble Ditto and The New Baroque Company. By providing vivid examples of how to apply arts entrepreneurship in classical music products, it will better help to understand the concept. (...)
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  45. Ἐγώ εἰμι.Andrej Poleev - 2020 - Enzymes 18.
    Появление человека, говорящего о себе Ἐγώ εἰμι, люди воспринимают в той же логике абсурда, к которой они привыкли. То, что кто-то может не играть и не носить маску, а реально быть, жить настоящей, а не выдуманной жизнью, для них немыслимо, невозможно, невыносимо и недопустимо. Но такой человек был, есть, и будет, и именно он преображает всё остальное человечество своим Ἐγώ εἰμι.
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  46. Development of Historical and Cultural Tourist Destinations.Sergii Sardak, Oleksandr P. Krupskyi, V. Dzhyndzhoian, M. Sardak & Y. Naboka - 2020 - Journal of Geology, Geography and Geoecology 29 (2):406-414.
    The aim of the study is to develop theoretic and methodological recommendations and practical activities for the positive social, managerial, organizational and economic development of historical and cultural tourist destinations. In theoretical terms: the role of historical and cultural tourist destination in the development of the region has been established; the historical and cultural tourist destinations have been identified; the author’s classification of historical and cultural tourist destinations has been developed basing tourist visiting activeness; the author’s methodological approach to the (...)
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  47. Ist JK Rowling böser als Ich? (überarbeitet 2019).Michael Richard Starks - 2020 - In Willkommen in der Hölle auf Erden: Babys, Klimawandel, Bitcoin, Kartelle, China, Demokratie, Vielfalt, Dysgenie, Gleichheit, Hacker, Menschenrechte, Islam, Liberalismus, Wohlstand, Internet, Chaos, Hunger, Krankheit, Gewalt, Künstliche Intelligenz, Krieg. Las Vegas, NV, USA: Reality Press. pp. 248-252.
    Wie wäre es mit einer anderen Ausg. der Reichen und Berühmten? Zuerst das Offensichtliche – die Harry-Potter-Romane sind primitiver Aberglaube, der Kinder dazu ermutigt, an Fantasie zu glauben, anstatt Verantwortung für die Welt zu übernehmen – natürlich die Norm. JKR ist genauso ahnungslos über sich und die Welt wie die meisten Menschen,aber etwa 200 Mal so destruktiv wie der durchschnittliche Amerikaner und etwa 800 Mal mehr als der durchschnittliche Chinese. Sie war verantwortlich für die Zerstörung von vielleicht 30.000 Hektar Wald, (...)
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  48. Patriarchy in Perspective (A Review of the Film Run Kalyani). [REVIEW]Sankar Varma - 2020 - Frontline 8.
    This is a movie review of Run Kalyani through a critique of feminist discourses and the idea of differences and repetition.
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  49. الجذور الأنثربولوجية للقيم الجمالية المغربية ومظاهر انعكاسها في السينما.حمزة الأندلوسي - 2020 - مجلة الدراسات الثقافية واللغوية والفنية 3 (12):198-217.
    تندرج هذه الدراسة ضمن مبحث أنثروبولوجيا الصورة، وتستهدف الحفر في الجذور الثقافية المُشكلة لجماليات التعبير الفني في المغرب مع التركيز على فن مخصوص هو السينما. في ذات السياق، سنعمل على تتبع السيرورة التاريخية للتفاعل الثقافي الذي شهده المجتمع المغربي، وذلك عبر تسليط الضوء على خصائص الموارد المختلفة التي نَهَلَ منها التعبير الفني، ونقصد هنا الإشارة إلى تفاعل الموارد الآتية وتلاقحها: المورد العربي-الإسلامي والمورد الأمازيغي والمورد المتوسطي والمورد الإفريقي-صحراوي؛ أما الجزء الثاني من الدراسة فيقتصر على تحليل الأساليب الفنية المُعتمدة في عدد (...)
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  50. “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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