Film Media

Edited by Clotilde Torregrossa (University of St. Andrews)
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  1. Against Imprinting: The Photographic Image as a Source of Evidence.Dawn M. Wilson - 2022 - Social Research: An International Quarterly 89 (4):947-969.
    A photographic image is said to provide evidence of a photographed scene because it is a causal imprint of reflected light, an indexical trace of real objects and events. Though widely established in the history, theory, and philosophy of photography, this traditional imprinting model must be rejected because it relies on a “single-stage” misconception of the photographic process: the idea that a photographic image comes into existence at the time of exposure. In its place, a “multistage” account properly articulates different (...)
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  2. Cinema, the City, and Manoel de Oliveira’s Logic of Sensation: Film and Painting.Susana Viegas - 2021 - Philosophy and Architecture.
    Although it is an emerging research field, the philosophy of film has a long tradition of investigating the complex relationship between painting and film, with a special focus on films about painting: on how the two art forms encounter each other from a spatial and temporal perspective. In addition, the field has long explored the ways in which films represent the modern city. From the beginning, film has been associated with the representation of the modern city and of other art (...)
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  3. The heretical archive: digital memory at the end of film.Domietta Torlasco - 2013 - London: University of Minnesota Press.
    Introduction -- Against house arrest -- Digital impressions: writing memory after Agnès Varda -- Folding time: toward a new theory of montage -- Archiving disappearance: from Michelangelo Antonioni to new media.
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  4. Cinematic interfaces: film theory after new media.Seung-Hoon Jeong - 2013 - New York, NY: Routledge.
    Introduction -- the medium-interface -- The body-interface -- The surface of the object -- The face of the subject -- Image and subjectivity -- Conclusion.
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  5. Supercinema: film-philosophy for the digital age.William Brown - 2013 - New York: Berghahn.
    Introduction -- Chapter 1: Digital cinema's conquest of space -- Chapter 2: The nonanthropocentric character of digital cinema -- Chapter 3: From temporalities to time in digital cinema -- Chapter 4: The film-spectator-world assemblage -- Chapter 5: Concluding with love.
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  6. Film discourse interpretation: towards a new paradigm for multimodal film analysis.Janina Wildfeuer - 2014 - London: Routledge, Taylor and Francis Group.
    This book contributes to the analysis of film from a multimodal and textual perspective by extending formal semantics into the realm of multimodal discourse analysis. It accounts for both the inferential as well as intersemiotic meaning making processes in filmic discourse and therefore addresses one of the main questions that have been asked within film theory and multimodal analysis: How do we understand film and multimodal texts? The book offers an analytical answer to this question by providing a systematic tool (...)
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  7. A Digital Picture to Hold Us Captive? A Flusserian Interpretation of Misinformation Sharing on Social Media.Lavinia Marin - 2021 - Philosophy Today 65 (3):485–504.
    In this article I investigate online misinformation from a media philosophy perspective. I, thus move away from the debate focused on the semantic content, concerned with what is true or not about misinformation. I argue rather that online misinformation is the effect of an informational climate promoted by user micro-behaviours such as liking, sharing, and posting. Misinformation online is explained as the effect of an informational environment saturated with and shaped by techno-images in which most users act automatically under the (...)
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  8. 'I Am (big) M(Other)': Lacan’s big Other and the Role of Cynicism in Grant Sputore's I Am Mother.Jack Black - 2020 - Free Associations: Psychoanalysis and Culture, Media, Groups, Politics (80):121-131.
    How can one make sense of our current political, ecological and technological dilemmas through the lens of Grant Sputore’s I Am Mother (2019)? Well-received, the film has been commended for its account of the increasing role and impact of artificial intelligence and its relation to our ongoing ecological dilemmas and potential catastrophe. While these issues are played-out through the on-screen relationship between robotic mother and human daughter, the film can also be used to help shed light on our current ideological (...)
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  9. 延伸与反思:基于电影感知研究的中国电影研究新思路Extension and Reflection: Film Perception and Cognition study as A New Approach for Chinese Film Research.Lingfei Luan - forthcoming - Film Art.
    Film perception and cognition research, as interdisciplinary research lags behind the curve on issues, methods, and trends found important by its adjacent disciplines, such as film, communication, and psychology. It provides a scientific perspective for exploring the fundamental analysis issues to evaluate the film’s endogenous structure and exogenous power in the audience. It will mount the position of Chinese film research around the world by integrating the multidisciplinary theories and practice. 对目前中国电影研究学科性反思的提出,不仅是一种学术研究的重新审视,也是面临世界电影格局重组的根本应对策略。面对经济和文化等方面的冲击,中国电影研究需要顺应发展趋势:从传统的理论性研究汇入创作实践与理论 体系交融的大方向,从单一的学科研究转向到跨学科的探索。电影感知研究正是解决电影跨学科问题的最佳研究方法,它将传统电影研究与其他学科的现实经验相结合,可以从根本上推进中国电影研究以及实践在世界电影产业舞 台上的位置。.
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  10. Die Christusnarratief in die film As it is in heaven.Anet Elizabeth Dreyer-Kruger - 2014 - HTS Theological Studies 70 (3):01-10.
    In this article the public-theological motives in the film As it is in heaven is analised to demonstrate the film producer Kay Pollack's ideal to communicate through the film that people should live their lives here and now authentically without seeking excuses for being happy. In this article the principles of narratology is applied in the analysis of the film's plot, characterisation, plotted time and narrated spaces. It is also argued that the protagonist in the film can be regarded as (...)
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  11. Imagining Film: Seeing with the Mind's Eye.William Seely - 2005 - Philosophical Inquiry 17:3-14.
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  12. : Reel Justice: The Courtroom Goes to the Movies. Paul Bergman, Michael Asimow. ; Past Imperfect: History according to the Movies. Mark C. Carnes.Anthony Chase - 1997 - Cardozo Studies in Law and Literature 9 (1):107-150.
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  13. TV and Film: A Philosophical Perspective.Noël Carroll - 2001 - The Journal of Aesthetic Education 35 (1):15.
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  14. Film and the Politics of Culture.Edward Sankowski - 1999 - The Journal of Aesthetic Education 33 (1):81.
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  15. Classics and sf. B.m. Rogers, B.e. Stevens classical traditions in science fiction. Pp. XVI + 380, ills. New York: Oxford university press, 2015. Paper, £23.49, us$35 . Isbn: 978-0-19-022833-0. [REVIEW]Mark Thorne - 2016 - The Classical Review 66 (2):584-586.
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  16. Crossover Dreams: Global Circulation of Queer Film on the Film Festival Circuits.Skadi Loist - 2016 - Diogenes:039219211566701.
    The ubiquity of gender-bending and sexually ambiguous imagery in the media seems to herald a post-gay era. But are LGBT/Q identities and representation politics really a thing of the past? Inspecti...
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  17. Brainwashing the cybernetic spectator: The Ipcress File, 1960s cinematic spectacle and the sciences of mind.Marcia Holmes - 2017 - History of the Human Sciences 30 (3):3-24.
    This article argues that the mid-1960s saw a dramatic shift in how ‘brainwashing’ was popularly imagined, reflecting Anglo-American developments in the sciences of mind as well as shifts in mass media culture. The 1965 British film The Ipcress File provides a rich case for exploring these interconnections between mind control, mind science and media, as it exemplifies the era’s innovations for depicting ‘brainwashing’ on screen: the film’s protagonist is subjected to flashing lights and electronic music, pulsating to the ‘rhythm of (...)
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  18. Philosophy of Film: An Introduction.Aaron Smuts - 2016 - Routledge.
    Philosophy of Film: A Contemporary Introduction (Routledge) provides a critical overview of the literature on eleven different issues in the philosophy of film, from "What is Film?" to "Can Film Do Philosophy?" It aims to provide an objective overview of the principal arguments on each side of the issues. The set of issues includes all of the most important topics as well as some that are less well represented in the discipline, such as whether the power of cinema derives from (...)
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  19. On Cinematic Genius: Ontology and Appreciation.Paisley Livingston - 2012 - Royal Institute of Philosophy Supplement 71:85-104.
    The word ‘genius’ is often associated with the idea that artistic creativity is entirely a matter of an involuntary sort of inspiration visited upon the individual artist. My aim in referring to cinematic genius is not, however, to defend that dubious thesis, but to direct attention to the remarkable artistic achievements that some film-makers, working individually or in collaborative teams, have managed to bring about in their intentional and often painstaking creation of cinematic works. Genius, as I understand it, is (...)
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  20. Film as Philosophy: The Very Idea.Stephen Mulhall - 2007 - Proceedings of the Aristotelian Society 107 (1pt3):279-294.
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  21. Jean Mitry, Semiotics and the Analysis of Film (2000). [REVIEW]Anthony Flinn - 2001 - American Journal of Semiotics 17 (3):267-269.
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  22. African Aesthetics in Motion: The Probability of a Third Jumbie Aesthetic in Antigua and Barbuda.Mali Adelaja Olatunje - 2007 - CLR James Journal 13 (1):59-70.
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  23. Film as Symbol.Nikolaos Gkogkas - 2013 - Philosophical Inquiry 37 (3-4):78-85.
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  24. Philosophy of Film and Motion Pictures: An Anthology.Jinhee Choi (ed.) - 2005 - Wiley.
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  25. Philosophy of Literature & Philosophy of Film and Motion Pictures, 2 Book Set.Dominic Mciver Lopes, No?L. Carroll & Jinhee Choi - 2008 - Wiley-Blackwell.
    Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary (...)
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  26. A Man of Dark Thoughts.William Kluback - 1988 - The Owl of Minerva 19 (2):183-190.
    Carl Schmitt was a jurist, political philosopher, and a devoted student of Thomas Hobbes. Schmitt lived from 1888 to 1985 in Germany, and for a time enjoyed with Martin Heidegger the right to create under Hitler a new spiritual German state. Both men shared enduring veneration, admiring pilgrimages, and remain sources of political and philosophical discussions and interpretation. Recently, three of Schmitt’s books were added to the one already available in English, The Concept of the Political. Most of Schmitt’s books (...)
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  27. Cinematic Thinking and the Meaning of History.Natalia L. Rudychev - 2006 - International Studies in Philosophy 38 (1):141-148.
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  28. Photobiographies : the 'Derrida' documentaries as film-philosophy.Robert Sinnerbrink - unknown
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  29. Der Stoiker als komischer Typus. Stoa-Parodien in Literatur und Film.Bernhard Zimmermann, Jochen Schmidt & Barbara Neymeyr - 2008 - In Bernhard Zimmermann, Jochen Schmidt & Barbara Neymeyr (eds.), Stoizismus in der Europäischen Philosophie, Literatur, Kunst Und Politikstoicism in European Philosophy, Literature, Art, and Politics. A Cultural History From Antiquity to Modernity: Eine Kulturgeschichte von der Antike Bis Zur Moderne. Walter de Gruyter.
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  30. Mystifying Movies: Fads and Fallacies in Contemporary Film Theory.Karen Hanson - 1991 - Philosophical Review 100 (4):663.
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  31. Philosophical Problems of Classical Film Theory.George M. Wilson - 1991 - Philosophical Review 100 (3):506.
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  32. Turtle Beach.Raymond Aaron Younis - 1995 - In Scott Murray (ed.), Australian Film. Oxford University Press.
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  33. Φύσις on film?: Heidegger, art and the question of the cinematic manifestation of being.Michael Josiah Mosely - unknown
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  34. Wittgenstein de Derek Jarman : un film d'« intérieur ».Antonia Soulez & Marc Cerisuelo - 2003 - Rue Descartes 39 (1):109-119.
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  35. Cohesive Relations and Texture in Bresson's Film "L'Argent".Susan Hayward - 1986 - Substance 15 (3):52.
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  36. XPS study of adsorption and desorption of a Bi thin film on the five-fold icosahedral Al-Pd-Mn surface.K. M. Young, N. Cross, J. A. Smerdon, V. R. Dhanak, H. R. Sharma, T. A. Lograsso, A. R. Ross & R. McGrath - 2011 - Philosophical Magazine 91 (19-21):2889-2893.
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  37. Common epitaxial feature of various thin film textures.Dorothy A. Brine & R. A. Young - 1963 - Philosophical Magazine 8 (88):651-662.
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  38. The helium film formed from the vapour phasef.L. G. Grimes & L. C. Jackson - 1959 - Philosophical Magazine 4 (42):756-762.
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  39. Indentation fracture and indentation delamination in ZnO film/Si substrate systems.Bin Huang, Ming-Hao Zhao & Tong-Yi Zhang - 2004 - Philosophical Magazine 84 (12):1233-1256.
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  40. David A. Kirby, Lab Coats in Hollywood: Science, Scientists, and Cinema. Cambridge, MA and London: MIT Press, 2011. Pp. xiv+265. ISBN 978-0-262-01478-6. £20.95. [REVIEW]Jean-Baptiste Gouyon - 2012 - British Journal for the History of Science 45 (1):146-148.
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  41. Microcinematography and the History of Science and Film.Hannah Landecker - 2006 - Isis 97 (1):121-132.
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  42. The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915. Martin S. Pernick.Rima D. Apple - 1997 - Isis 88 (2):369-370.
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  43. Idiosyncrasy And Film.Alexander García Düttmann - unknown
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  44. Susan Wolf and Christopher Grau, eds., Understanding Love: Philosophy, Film, and Fiction. Reviewed by.Aaron Landry - 2016 - Philosophy in Review 36 (1):36-38.
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  45. Film worth reviewing.Steve Patroni - 2016 - Australian Humanist, The 120:24.
    Patroni, Steve Review of: Oh! What a lovely war, directed by Richard Attenborough.
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  46. Faust on Film: A Hegelian Modern Art.Sarah Kathryn Murphy - unknown
    The purpose of this paper is to investigate the relationship between German Expressionist film and Hegel’s system of aesthetics. Through an analysis of the aesthetic qualities of Hanns Ewers’ The Student of Prague and F.W. Murnau’s Faust, I believe we have evidence to believe that the subjectivity that German Expressionist film sought to capture is aligned with the ‘interiority’ that Hegel believes Romantic art expresses. Further, I will consider whether these two films indicate that film as an artistic medium falls (...)
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  47. Film, literature and non-cognitive affect.Derek Matravers & Amy Coplan - unknown
    Amy Coplan argues that recent work in the philosophy of the emotions suggests that film is more effective that literature in inducing non-cognitive affect. Derek Matravers replies to this, and suggests reasons for scepticism.
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  48. Race, Philosophy, and Film.Mary K. Bloodsworth-Lugo & Dan Flory (eds.) - 2013 - New York: Routledge.
    This collection fills a gap in the current literature in philosophy and film by focusing on the question: How would thinking in philosophy and film be transformed if race were formally incorporated moved from its margins to the center? The collection’s contributors anchor their discussions of race through considerations of specific films and television series, which serve as illustrative examples from which the essays’ theorizations are drawn. Inclusive and current in its selection of films and genres, the collection incorporates dramas, (...)
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  49. Cognitivism goes to the movies : the Routledge companion to philosophy and film; Moving viewers: American film and the spectator's experience; Embodied visions: evolution, emotion, culture, and film.Robert Sinnerbrink - unknown
    A critical review essay dealing with three major publications in the field of philosophy of film published during 2009.
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  50. Visible Mind: Movies, Modernity and the Unconscious.Christopher Hauke - 2013 - Routledge.
    _Why is the moving image so important in our lives? What is the link between the psychology of Jung, Freud and films? How do film and psychology address the problems of modernity? _ _Visible Mind_ is a book about why film is so important to contemporary life, how film affects us psychologically as individuals, and how it affects us culturally as collective social beings. Since its inception, film has been both responsive to historical cultural conditions and reflective of changes in (...)
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1 — 50 / 1209