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  1. 导演 观众 粉丝(Director, Audience, Fans).Lingfei Luan - forthcoming - Beijing, China: China Social Science Press.
  2. Matthew Strohl, Why it’s OK to Love Bad Movies. New York, Routledge, 2022. ISBN: 0367407655. Paperback $24.95. [REVIEW]Mi Rae Ryu, Alexander Middleton & Travis Timmerman - 2024 - Journal of Value Inquiry 58 (4):753-761.
  3. Entertaining Unhappiness.Sebastian Sunday - 2023 - In Craig Fox & Britt Harrison (eds.), Philosophy of Film Without Theory. Palgrave Macmillan. pp. 253–269.
    This essay sets out reflections on happiness that, it is argued, can be drawn from the 2013 film Blue Jasmine. In doing so, it seeks to demonstrate a certain epistemic potential of sound film, specifically, in the present case, a philosophical and psychological potential. It is argued that this kind of potential resides in a filmmaker’s ability to realistically represent aspects of the world that can otherwise rarely, if ever, be experienced so reflectively.
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  4. Don’t Worry about Socrates: Three Plays for Television by Josef Pieper. [REVIEW]Rashad Rehman - 2021 - Review of Metaphysics 74 (4):636-638.
    In recent years, St. Augustine’s Press and Ignatius Press have been a fruitful hub for translating into English the works of German philosopher Josef Pieper (1904–1997). Pieper’s engagement with Plato is known in the English-speaking world through his short Divine Madness: Plato’s Case against Secular Humanism (Ignatius Press, 1995) and The Platonic Myths (St. Augustine’s Press, 2011). In 2018 St. Augustine’s Press published Dan Farrelly’s translation of Pieper’s Kümmert Euch nicht um Sokrates (1966), a German text initially composed as a (...)
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  5. The Palgrave Handbook of Posthumanism in Film and Television by Michael Hauskeller, Thomas Philbeck, and Curtis Carbonell (review). [REVIEW]Lantz Fleming Miller - 2019 - Film and History 49 (2):94-96.
    Science fiction has served the film industry like a dreamy stepchild. It gets only scant accolades from its master but must do heavy lifting: that is, make money. While science-fiction films often emphasize spectacle and action, they also inspire philosophical contemplation. Why? Science fiction, dating back to Shelley and Verne, came into existence speculating about humanity's social and physical worlds. Many books and articles over the past several years discuss the philosophical issues that films raise. One fairly new school of (...)
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  6. Consumerism, Aristotle and Fantastic Mr. Fox.Matt Duncan - 2015 - Film-Philosophy 19 (1):249-269.
    Wes Anderson's Fantastic Mr. Fox is about Mr. Fox's attempt to flourish as both a wild animal and a consumer. As such, this film raises some interesting and difficult questions about what it means to be a member of a certain kind, what is required to flourish as a member of that kind, and how consumerism either promotes or inhibits such flourishing. In this paper I use Fantastic Mr. Fox as an entry point into an examination of the relationship between (...)
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  7. What Can Hume Teach Us About Film Evaluation.Robert R. Clewis - 2014 - Aisthema 1 (2):1-22.
    This article identifies three distinct temporal notions in Hume’s aesthetics: passing the test of time, repeated viewing of a work, and the personal aging of the critic. It applies these ideas to the evaluation and enjoyment of films. It characterizes positive, negative, and ambivalent film aging, which are associated with nostalgia, boredom, and comic amusement, respectively, and which bear on our enjoyment, not evaluation, of film. The paper discusses Allen’s Zelig, Antonioni’s La Notte, Cameron’s The Terminator, Lucas’s Star Wars, Scorsese’s (...)
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  8. Film Evaluation and the Enjoyment of Dated Films.Robert R. Clewis - 2012 - Projections: The Journal for Movies and Mind 6 (2):42-63.
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  9. The Aesthetics of Actor-Character Race Matching in Film Fictions.Christy Mag Uidhir - 2012 - Philosophers' Imprint 12.
    Marguerite Clark as Topsy in Uncle Tom’s Cabin (1918). Charlton Heston as Ramon Miguel Vargas in Touch of Evil (1958). Mizuo Peck as Sacagawea in Night at the Museum (2006). From the early days of cinema to its classic-era through to the contemporary Hollywood age, the history of cinema is replete with films in which the racial (or ethnic) background of a principal character does not match the background of the actor or actress portraying that character. I call this actor-character (...)
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  10. Stoics on the Big Screen.John Sellars - 2003 - Philosophy Now 41:44-45.
    Stoic themes in Ridley Scott's Gladiator.
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  11. BeDevil.Raymond Aaron Younis - 1995 - In Scott Murray (ed.), Australian Film 1978-1994. Oxford University Press.
  12. Sex Education Films. [REVIEW]Martin Pernick - 1993 - Isis 84:766-768.