Film Media

Edited by Aaron Smuts (Rhode Island College)
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  1. Il cinema tedesco nel primo Dopoguerra. Il rapporto fra film, inconscio collettivo e percezione dell'opera d'arte.Daniele Abbruzzese - 2010 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 3 (2).
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  2. Towards a Radical Conception of Film Acting.Vivek Bhaskar Adarkar - 1997 - Dissertation, Columbia University
    Mainstream feature films on videocassettes allow viewers to relate to film acting on a level far deeper than recognized by existing film theory, requiring us to formulate an aesthetic on which this new relationship between audience and actor can be based and explored. ;Our common knowledge tells us that the primary function of film acting remains that of dramatic representation, more precisely, serving the narrative trajectory of cause and effect structured around the basic want of the central character. Our analysis, (...)
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  3. Art and Prudence. A Study in Practical Philosophy.Mortimer Adler - 1937 - Journal of Philosophy 34 (12):334-335.
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  4. Cinema and Sentiment.Charles Affron - 1982
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  5. The Philosophy of H.P. Lovecraft the Route to Horror.Timo Airaksinen - 1999
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  6. European Film Theory and Cinema a Critical Introduction.Ian Aitken - 2001
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  7. Place, Power, Situation, and Spectacle a Geography of Film.Stuart C. Aitken & Leo Zonn - 1994
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  8. Philosophy & Film.Francis Akpata - 2007 - Philosophy Now 60:46-47.
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  9. Texte Zur Theorie des Films.Franz-Josef Albersmeier - 1979
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  10. Dialéctica Del Espectador.Tomás Gutiérrez Alea - 1982 - Unión de Escritores y Artistas de Cuba.
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  11. Film Review: Celebrating Old Age in Music - Quartet, Directed by Dustin Hoffman, 2012.Khalid Ali - 2014 - Journal of Medical Humanities 35 (3):353-354.
    This is an excerpt from the contentRecently older people have been the target of filmmakers and marketing campaigns; the concept of the “grey pound” has become a potentially significant attraction encouraging filmmakers to explore issues relating to age and ageing in mainstream films. The recent success of films such as Mamma Mia and The Best Exotic Marigold Hotel have made a significant impact on the box office, and Amour securing the 2013 Palm D’Or at the Cannes Film Festival, proved that (...)
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  12. Representation, Meaning, and Experience in the Cinema: A Critical Study of Contemporary Film Theory.Richard William Allen - 1989 - Dissertation, University of California, Los Angeles
    This study is an analytical criticism of the epistemological foundations of contemporary film theory. The arguments of contemporary film theory are unraveled by charting the transformation of film theory into critical theory through successive paradigms of knowledge: the aesthetic theory of Andre Bazin; the semiotic and psychoanalytic theory of Christian Metz; and the post-structuralist critical theory of Stephen Heath inspired by Althussarian Marxism. It is argued that contemporary film theory read Bazinian film theory in a way that fostered Bazin's critical (...)
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  13. Dickens, Griffith, and Film Theory Today.Rick Altaian - 1989 - In Jane Gaines (ed.), Classical Hollywood Narrative: The Paradigm Wars. Duke University Press. pp. 1992--9.
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  14. Is Film the Alien Other to Philosophy?: Philosophy as Film in Mulhall's On Film.Nathan Andersen - 2005 - Film and Philosophy 9:1.
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  15. Film in the Aura of Art.Dudley Andrew - 1984
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  16. The Major Film Theories an Introduction.Dudley Andrew - 1976
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  17. The Logic of Forms in Orson Welles's Movies.D. Z. Andriopoulos - 2010 - Philosophical Inquiry 32 (3-4):112-114.
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  18. The Vestibular in Film: Orientation and Balance in Gus Van Sant's Cinema of Walking.Luis Rocha Antunes - 2012 - Essays in Philosophy 13 (2):10.
    For decades, the audiovisual nature of the film medium has limited film scholarship to the strict consideration of sound and sight as the senses at play. Aware of the limitations of this sense-to-sense correspondence, Laura U. Marks has been the first to consistently give expression to a new and emergent line of enquiry that seeks to understand the multisensory nature of film.Adding to the emergent awareness of the cinema of the senses, neuroscience, specifically multisensory studies, has identified autonomous sensory systems (...)
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  19. New York, the End of World and “Boring” Movies. Philosopher Nerijus MileriusInterviewed by Miglė Anušauskaitė.Miglė Anušauskaitė - 2011 - Problemos 79:205-209.
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  20. Kino--Eizåo Gengo No Såozåo.Masahiko åoishi & Yåo Tanaka - 1994
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  21. The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures Since 1915Martin S. Pernick.Rima D. Apple - 1997 - Isis 88 (2):369-370.
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  22. Phyllis Berdt Kenevan, Paths of Individuation in Literature and Film: A Jungian Approach Reviewed By.Krista Arias - 2000 - Philosophy in Review 20 (2):114-115.
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  23. Marx, Il Cinema E la Critica Del Film.Guido Aristarco - 1979 - Feltrinelli.
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  24. Action and Image Dramatic Structure in Cinema.Roy Armes - 1994
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  25. Patterns of Realism.Roy Armes - 1971
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  26. Les Théories des Cinéastes.J. Aumont - 2002
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  27. L'image.J. Aumont - 1999
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  28. A Ponte Clandestina Birri, Glauber, Solanas, García Espinosa, Sanjinés, Alea : Teorias de Cinema Na América Latina.José Carlos Avellar - 1995
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  29. The Ethics of Uncovering Something Else in Histoire du Cinema.Jiewon Baek - 2014 - Journal of French and Francophone Philosophy 22 (1):40-60.
    In lieu of an abstract, here is the essay's opening paragraph: Marguerite Duras prefaces the second edition of Le navire night , from which an excerpt is cited above, by explaining that after writing the story of a man named J.M., everything came too late, including the realization of the film version of Le navire night. Once the event has been written and the common night of history been closed up, did she have the right to flash a light into (...)
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  30. A Clear New Lens: Film as Philosophy: Essays on Cinema After Wittgenstein and Cavell, Ed. Rupert Read and Jerry Goodenough (Palgrave Macmillan)£ 17.99/$31.95. [REVIEW]Julian Baggini - 2011 - The Philosophers' Magazine 35:91.
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  31. Prof'an Mitol'ogia a Film 'Es M'agikus Gondolkod'as.Yvette Bâirâo - 1999
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  32. “It′s the Japans”. Kontaktzonen Im Film Zwischen Aneignung Und Unverfügbarkeit.Martin Baisch & Evamaria Freienhofer - 2010 - Paragrana 19 (2).
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  33. Reconstructing Cultures on Film.Asen Balikci - 1995 - In Paul Hockings (ed.), Principles of Visual Anthropology. De Gruyter. pp. 181-192.
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  34. Columbia Pictures: The Making of a Motion Picture Major, 1930–1943.Tino Balio - 1996 - In David Bordwell Noel Carroll (ed.), Post-Theory: Reconstructing Film Studies. University of Wisconsin Press. pp. 419--433.
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  35. O Filme E o Realismo. Baptista-Bastos - 1962 - Editora Arcádia.
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  36. Movement as Meaning: In Experimental Film.Daniel Barnett - 2008 - Rodopi.
    This book offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein’s concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference. He then develops a hyper-simplified formula of movement as meaning to discuss, with (...)
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  37. Critical Realism History, Photography, and the Work of Siegfried Kracauer.Dagmar Barnouw - 1994
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  38. Philosophy & Film.Colin Bartie - 2006 - Philosophy Now 56:44-46.
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  39. Andere Subjekte: Dokumentarische Medienkunst Und Die Politik der Rezeption.Angelika Bartl - 2012 - Transcript.
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  40. The Party's Over (Almost): Terminal Celebration in Contemporary Film.Tony Bartlett - 1998 - Contagion: Journal of Violence, Mimesis, and Culture 5 (1):1-13.
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  41. The Trickster in Contemporary Film.Helena Bassil-Morozow - 2011 - Routledge.
    This book discusses the role of the trickster figure in contemporary film against the cultural imperatives and social issues of modernity and postmodernity, and argues that cinematic tricksters always reflect psychological, economic and social change in society. It covers a range of films, from Charlie Chaplin’s classics such as _Modern Times_ and _The Great Dictator_ to contemporary comedies and dramas with ‘trickster actors’ such as Jim Carrey, Sacha Baron-Cohen, Andy Kaufman and Jack Nicholson. _The Trickster in Contemporary Film_ offers a (...)
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  42. Roboethics in Film.Fiorella Battaglia & Natalie Weidenfeld (eds.) - 2014 - Pisa University Press.
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  43. The Evil Demon of Images.Jean Baudrillard - 1987
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  44. L'effet Cinéma.Jean Louis Baudry - 1978 - Éditions Albatros.
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  45. The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema.Jean-Louis Baudry - 1986 - In Philip Rosen (ed.), Narrative, Apparatus, Ideology: A Film Theory Reader. Columbia University Press. pp. 299--318.
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  46. The Searcher: Verfassungsrecht im Film John Fords progressiver Konservatismus.Max Bauer - 2012 - Rechtstheorie 43 (1):117-142.
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  47. The Search for Meaning, the Struggle to Love: Ang Lee's Film Brokeback Mountain.Lloyd Baugh - 2009 - Gregorianum 90 (3):533-570.
    In the context of the well-recognized dialogue between faith and film culture, this article considers Ang Lee's award-winning and controversial film, Brokeback Mountain . Against the misinterpretations and ideological rhetoric that coopted the film, it effects a close reading of the narrative, tracing the development of the film's central theme, the constitutive vocation of the human being to give and receive love, an experience touched by human sinfulness and divine grace. After analyzing the film's masterful adaptation of the short story (...)
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  48. Cinematographic Variations on the Christ-Event: Three Film Texts by Krzysztof Kieślowski: Part Two: Decalogue Six and the Script.Lloyd Baugh - 2003 - Gregorianum 84 (4):919-946.
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  49. Cinematographic Variations on the Christ-Event: Three Film Texts by Krzysztof Kieslowski. Part One: A Short Film About Love.Lloyd Baugh - 2003 - Gregorianum 84 (3):551-583.
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  50. Film Review: District 9.Seth Baum - 2009 - Journal of Evolution and Technology 20 (2):86-89.
    The recent film District 9 raises several issues of significance to transhumanism. These issues include whether it is permissible to give a human being superhuman powers against his will, under what circumstances humans will be accepting of transhumans or posthumans, and what roles space colonization and extraterrestrial encounter may play in the future of humanity. Consideration of these issues deepens the viewing experience, and it can inform current decisions about transhumanism’s future as a cultural movement.
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