Film Theory

Edited by Aaron Smuts (Rhode Island College)
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  1. David Bordwell and Noël Carroll, Eds., Post-Theory: Reconstructing Film Studies Reviewed By.Thomas E. Wartenberg - 1998 - Philosophy in Review 18 (2):85-87.
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  2. An Economy of Annihilation, on Wheeler Winston Dixon's Visions of the Apocalypse: Spectacles of Destruction in American Culture.Daniel Herbert - 2005 - Film-Philosophy 9 (3).
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  3. Book Review:Post-Theory: Reconstructing Film Studies. [REVIEW]ed Bordwell, David & Noël Carroll - 1997 - Philosophy and Literature 21 (2).
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Classical Film Theory
  1. Національно-культурна ідентичність у щоденникових записах Олександра Довженка.Olha Poliukhovych - 2018 - NaUKMA Researh Papers. Literary Studies 1:97-103.
    У статті проаналізовано конструювання національно-культурної ідентичності в щоденникових записах Олександра Довженка. Cтратегія автора засновується на постійному відтворенні фрагментів минулого життя в Україні, чутливості до страждання її народу та каятті за «Україну в огні». Майбутнє співвідноситься з радянською ідеологією, минуле – з національним, і ці дві категорії є паралельними у щоденниках митця. Минуле перетворюється на травматичний спогад, котрий не має шансів на становлення в майбутньому, оскільки він перекривається радянською ідеологією.
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  2. Кіно у творчості Василя Герасим’юка.Myroslav Laiuk - 2018 - NaUKMA Researh Papers. Literary Studies 1:70-73.
    У статті досліджено роль кіно у творчості Василя Герасим’юка. Простежено особливості використання кінематографічних прийомів, проаналізовано цитування кінокласики, розкрито значення постаті І. Миколайчука у текстах В. Герасим’юка. Розглянуто вплив «поетичного кіно» і особливо стрічки «Тіні забутих предків» на формування «карпатського тексту» поета.
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  3. Філософія кіно, метод моделювання та проблема декадентського кінотвору.Olga Kirillova - 2018 - NaUKMA Research Papers. History and Theory of Culture 1:17-23.
    Статтю присвячено реконструкції узагальненої моделі твору декадентського кінематографа як стилізованого кінематографа moderne, що є яскравим прикладом застосування філософської інтерпретації до кінематографа і феномену кінореальності. Ця модель має такі рівні: морфологічний, стилістичний, інтертекстуальний, ритмічний, аудіальний, тактильний, монтажний, специфічно-антропологічний і специфічно-наративний.
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  4. Conventions of Viewpoint Coherence in Film.Samuel Cumming, Gabriel Greenberg & Rory Kelly - 2017 - Philosophers' Imprint 17.
    This paper examines the interplay of semantics and pragmatics within the domain of film. Films are made up of individual shots strung together in sequences over time. Though each shot is disconnected from the next, combinations of shots still convey coherent stories that take place in continuous space and time. How is this possible? The semantic view of film holds that film coherence is achieved in part through a kind of film language, a set of conventions which govern the relationships (...)
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  5. The Evolution of the Language of Cinema.André Bazin - 2010 - In Marc Furstenau (ed.), The Film Theory Reader: Debates and Arguments. Routledge.
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  6. The Ontology of the Photographic Image.André Bazin - 2010 - In Marc Furstenau (ed.), The Film Theory Reader: Debates and Arguments. Routledge.
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Cognitive Film Theory
  1. Conventions of Viewpoint Coherence in Film.Samuel Cumming, Gabriel Greenberg & Rory Kelly - 2017 - Philosophers' Imprint 17.
    This paper examines the interplay of semantics and pragmatics within the domain of film. Films are made up of individual shots strung together in sequences over time. Though each shot is disconnected from the next, combinations of shots still convey coherent stories that take place in continuous space and time. How is this possible? The semantic view of film holds that film coherence is achieved in part through a kind of film language, a set of conventions which govern the relationships (...)
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  2. Image and Mind: Film, Philosophy, and Cognitive Science.Gregory Currie - 1995 - Cambridge University Press.
    This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...)
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  3. La Paradoja del Suspenso Anómalo.Gemma Arguello Manresa - 2016 - Daimon: Revista Internacional de Filosofía 68:49-65.
    Resumen: En este trabajo se aborda lo que en los debates recientes de filosofía del cine se ha denominado la paradoja del suspenso. Esta paradoja radica en el problema de que algunos espectadores sienten suspenso frente a una narración que ya conocían, partiendo del presupuesto de que la incertidumbre es un estado cognitivo necesario para sentir esta emoción. Se analizan varias propuestas recientes y se ofrece una alternativa a la mismas en la que se recupera la simpatía y la anticipación (...)
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  4. Film Worlds: A Philosophical Aesthetics of Cinema. [REVIEW]Rafe McGregor - 2016 - British Journal of Aesthetics 56 (1):106-109.
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  5. The Philosophy of Motion Pictures.Noël Carroll - 2007 - Wiley-Blackwell.
    _Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.
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  6. Aesthetics and Film. By Katherine Thomson‐Jones. [REVIEW]Jennifer A. Mcmahon - 2012 - Philosophical Quarterly 62 (249):865-867.
    Each chapter covers one topic and largely consists of brief summaries of arguments for and against various themes. The topic of the first chapter is whether and on what basis a film can be considered art. Photography is used as an analogy. The arguments range from considering the mechanical form of cinema as an obstacle to arthood to arguments considering cinema’s mechanical nature as essential to its arthood; the former by those who ground art in human agency, the latter by (...)
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  7. Cinematic Philosophy: Experiential Affirmation in Memento.Rafe Mcgregor - 2014 - Journal of Aesthetics and Art Criticism 72 (1):57-66.
    This article demonstrates that Memento (Christopher Nolan, 2000) meets both conditions of Paisley Livingston's bold thesis of cinema as philosophy. I delineate my argument in terms of Aaron Smuts's clarifications of Livingston's conditions. The results condition, which is concerned with the nature of the philosophical content, is developed in relation to Berys Gaut's conception of narrational confirmation, which I designate ‘experiential affirmation.’ Because experiential affirmation is a function of cinematic depiction, it meets Livingston's means condition, which is concerned with the (...)
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  8. A New/Old Ontology of Film.Rafe McGregor - 2013 - Film-Philosophy 17 (1):265-280.
    The purpose of this paper is to examine the ontological effects of digital technology, and determine whether digital films, traditional films, and pre-traditional motion pictures belong to the same category. I begin by defining the parameters of my inquiry, and then consider the two most significant consequences of the new technology. §2 proposes a decisive refutation of the causal relationship between reality and photography. §3 identifies an end to the dominance of photorealistic film over animation, and argues for an inversion (...)
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  9. The Philosophy of Motion Pictures, by Noël Carroll.Ward E. Jones - 2013 - Mind 122 (486):fzt066.
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  10. Looking at Motion Pictures (Revised) [.Richard Allen - 2001 - Film-Philosophy 5 (1).
    I shall begin this essay by sketching some Wittgenstein-influenced arguments as to why the causal theory of perception is inadequate. However my main concern is to explore the ramifications for pictorial perception of understanding perception in terms of the causal theory. When 'our ordinary notion of perceiving' is characterized in terms of the existence of a causal connection between an object perceived and our sensory experience of that object the case of pictorial perception generates a paradox.
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  11. Misrecognizing Film Studies.Bruce Bennett - 2000 - Film-Philosophy 4 (1).
    _Post-Theory: Reconstructing Film Studies_ Edited by David Bordwell and Noel Carroll Madison, Wisconsin: University of Wisconsin Press, 1996 ISBN: 0299149447 564 pp.
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  12. Cognitive and Philosophical Approaches to Horror.Aaron Smuts - forthcoming - In Harry Benshoff (ed.), Blackwell Companion to the Horror Film. Blackwell.
    Four main issues have occupied center stage in the analytic-cognitivist work on horror: (1) What is horror? (2) What is the appeal of horror? (3) How does it frighten audiences? and, (4) is it irrational to be scared of horror fiction?
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  13. Self-Reflection: Beyond Conventional Fiction Film Engagement.Margrethe Bruun Vaage - 2009 - Nordicom Review 30:159-178.
    Idiosyncratic responses as more strictly personal responses to fiction film that vary across individual spectators. In philosophy of film, idiosyncratic responses are often deemed inappropriate, unwarranted and unintended by the film. One type of idiosyncratic response is when empathy with a character triggers the spectator to reflect on his own real life issues. Self-reflection can be triggered by egoistic drift, where the spectator starts imagining himself in the character’s shoes, by re-experiencing memories, or by unfamiliar experiences that draw the spectator’s (...)
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  14. Fictional Reliefs and Reality Checks.Margrethe Bruun Vaage - 2013 - Screen 54 (2).
    The present paper explores the moral psychology of fiction conceptually through the paired concepts ‘fictional relief’ and ‘reality check’. I suggest that the spectator of fictional films and television series sees himself as relieved from some of the moral obligations the spectator of nonfiction films sees himself as subject to, such as considering the consequences of a character's actions and attitudes. A fictional attitude is disturbed when elements of nonfiction are inserted into the fiction, such as the documentary photographs in (...)
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  15. A Philosophy of Cinematic Art, by Berys Gaut.M. Turvey - 2013 - Mind 122 (485):281-284.
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  16. A Philosophy of Cinematic Art.Berys Gaut - 2010 - Cambridge: Cambridge University Press.
    A wide-ranging and accessible study of cinema as an art form, discussing traditional photographic films, digital cinema, and videogames.
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  17. Moving Pictures: A New Theory of Film Genres, Feelings, and Cognition.Torben Grodal - 1999 - Clarendon Press.
    Providing an alternative to pyschoanalytically based descriptions, this major study presents a unique, new theoretical account of the way emotions and thought patterns interact in creating aesthetic effects in films. Using diverse examples, Torben Grodal shows how films activate effects in the viewer and how these effects are moulded by genres which determine the way in which characters will react in given situations.
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  18. The Philosophy of Motion Pictures • by Noël Carroll.Andrew Kania - 2009 - Analysis 69 (1):194-195.
    Book review of _The Philosophy of Motion Pictures_ by Noël Carroll.
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  19. Brecht.Angela Curran - 2008 - In Paisley Livingston & Carl Plantinga (eds.), Routledge Companion to the Philosophy of Film. Routledge.
    This paper focuses on philosophical issues regarding Bertolt Brecht's engagement with film. Topics that are discussed include: Brecht's influence on filmmaking and film theory; the claim that Brecht held that mainstream films place viewers under the "illusion" that what they are watching on screen is real; Brecht's rejection of empathy; and the linkage of film form and socially critical content.
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  20. Film Theory and Philosophy.Richard Allen & Murray Smith (eds.) - 1997 - Oxford University Press.
    This volume of new essays energizes a growing movement in film theory which questions and seeks to overturn many of the assumptions that have governed film theory for the last twenty years. The book brings together film scholars and philosophers in a united commitment to the standards of argumentation that characterize analytic philosophy rather than a single doctrinal approach. The essays address such topics as authorship, emotion, ideology, representation, and expression in film.
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  21. Theorizing the Moving Image.Noël Carroll - 1996 - Cambridge University Press.
    A selection of essays written by one of the leading critics of film over the last two decades, this volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding a new (...)
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Continental Film Theory
  1. 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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  2. 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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  3. 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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  4. Film Worlds: A Philosophical Aesthetics of Cinema. [REVIEW]Rafe McGregor - 2016 - British Journal of Aesthetics 56 (1):106-109.
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  5. 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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  6. 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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  7. 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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  8. 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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  9. Phenomenology, Poststructuralism, and the Cinema of Time'.J. A. Bell - 1994 - Film & Philosophy (Society for the Philosophic Study of the Contemporary Visual Arts) 2.
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  10. 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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  11. 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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  12. 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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  13. 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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  14. 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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  15. Boaz Hagin (2010) Death in Classical Hollywood Cinema.Richard Lindley Armstrong - 2011 - Film-Philosophy 15 (2):126-128.
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  16. 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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  17. 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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  18. 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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  19. 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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  20. Deleuze's Idea of Cinema.Stephen Arnott - 2001 - Film-Philosophy 5 (2).
    _Deleuze and Guattari: New Mappings in Politics, Philosophy and Culture_ Edited by Eleanor Kaufman and Kevin Jon Heller Minneapolis: University of Minnesota Press, 1998 ISBN 0-8166-30283 320 pp.
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