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  1. added 2019-06-14
    Поезія і/чи проза: до археології однієї дискусії в радянському кіно.Briukhovetska Olga - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:33-41.
    У дослідженні проаналізовано теоретичні джерела і політичні наслідки статті московського кінокритика М. Блеймана «Архаїсти чи новатори?» (1970), яку вважають обґрунтуванням заборони школи українського поетичного кіно як «безперспективного» напряму. Статтю М. Блеймана вміщено в контекст дискусії про поетичне і прозаїчне кіно, яку систематизовано щодо двох підходів: нормативного, який вважає лише один із напрямів кіно релевантним його природі (йому відповідає сполучник «чи»), і плюралістичного, який розглядає обидва напрями як актуалізації різних кінематографічних потенцій згідно з тими завданнями, що ставлять режисери (йому відповідає сполучник (...)
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  2. added 2019-06-14
    Volodymyr Vynnychenko and the Early Ukrainian Decadent Film (1917–1918).Kirillova Olga - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:52-55.
    The article is focused on the phenomenon of the early Ukrainian decadent cinema, in particular, in relation to filmings of Volodymyr Vynnychenko’s dramaturgy. One of the brightest examples of ‘film decadence’ in Vynnychenko’s oevre is “The Lie” directed by Vyacheslav Vyskovs’ky in 1918, discovered recently in the film archives. This film displays the principles of ‘ethical symbolism’, ‘dark’ expressionist aesthetics and remains the unique masterpiece of specifically Ukranian film decadence.
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  3. added 2016-12-08
    De-Westernizing Film Studies.Maty Bâ Saër & Higbee Will (eds.) - 2012 - Routledge.
    The book combines a series of chapters considering a range of responses to the idea of 'de-westernizing' film studies with a series of in-depth interviews with filmmakers, scholars and critics.
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  4. added 2016-10-17
    Le plan subjectif réversible: Sur le point de vue au cinéma à partir des écrits de Merleau-Ponty.Anna Caterina Dalmasso - 2016 - Studia Phaenomenologica 16:135-162.
    When I am watching a movie, I perceive on the screen a space, which is united and lived, even if it appears as fragmented and separated from the world in which I live. But is the space of the cinematic frame equivalent or commensurable with the one I see through my own eyes? Are they opposed to each other or do they merge together? The most amazing example of the possible convergence of gaze and frame the film realizes is the (...)
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  5. added 2015-11-03
    Torture Pornopticon: (In)Security Cameras, Self-Governance and Autonomy.Steve Jones - 2015 - In Linnie Blake & Xavier Aldana Reyes (eds.), Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon. I.B. Tauris. pp. 29-41.
    ‘Torture porn’ films centre on themes of abduction, imprisonment and suffering. Within the subgenre, protagonists are typically placed under relentless surveillance by their captors. CCTV features in more than 45 contemporary torture-themed films (including Captivity, Hunger, and Torture Room). Security cameras signify a bridging point between the captors’ ability to observe and to control their prey. Founded on power-imbalance, torture porn’s prison-spaces are panoptical. Despite failing to encapsulate contemporary surveillance’s complexities (see Haggerty, 2011), the panopticon remains a dominant paradigm within (...)
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  6. added 2014-11-28
    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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  7. added 2014-05-08
    Lukas Bleichenbacher (2008) Multilingualism in the Movies: Hollywood Characters and Their Language Choices.Michael Abecassis - 2010 - Film-Philosophy 14 (2):118-124.
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  8. added 2014-05-08
    In Search of Lost Children in Cinema and Western Society, on Emma Wilson's Cinema's Missing Children.Michael Abecassis - 2005 - Film-Philosophy 9 (2).
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  9. added 2014-04-02
    A Philosophy of Cinematic Art.G. Wilson - 2013 - Philosophical Review 122 (2):307-310.
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  10. added 2014-03-30
    Bréviaire de Cinéphilie Dissidente: Essai.Ludovic Maubreuil - 2009 - Alexipharmaque.
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  11. added 2014-03-30
    Il Ruolo Dell'immagine Nella Memoria E Nella Storia.Consuelo Scopelliti - 2009 - Atheneum.
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  12. added 2014-03-30
    Aktor I Jego Postać Ekranowa: Aktorstwo Ery Kina Niemego W Teorii I Refleksji Krytycznej.Piotr Skrzypczak - 2009 - Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika.
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  13. added 2014-03-30
    El Cine En Su Laberinto: Literatura, Pintura, Sociedad.Héctor J. Freire - 2009 - Topía Editorial.
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  14. added 2014-03-30
    Stramaledettamente Logico: Esercizi di Filosofia Su Pellicola.Armando Massarenti (ed.) - 2009 - Laterza.
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  15. added 2014-03-30
    Broke)Back to the Mainstream: Queer Theory and Queer Cinemas Today.Harry M. Benshoff - 2009 - In Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies. Routledge. pp. 192--213.
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  16. added 2014-03-29
    Visible Man, or the Culture of Film.Béla Bálazs - 2010 - In Marc Furstenau (ed.), The Film Theory Reader: Debates and Arguments. Routledge.
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  17. added 2014-03-29
    Strategien der Filmanalyse - Reloaded: Festschrift für Klaus Kanzog.Michael Schaudig & Klaus Kanzog (eds.) - 2010 - Verlag Schaudig & Ledig Gbr.
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  18. added 2014-03-29
    La Vida Que Resiste En la Imagen: Cine, Política y Acontecimiento.Arias Herrera & Juan Carlos - 2010 - Pontificia Universidad Javeriana.
    1. Cine y vanguardias : el cine como promesa estético-política desde Dziga Vertov y Jean Epstein -- 2. Deleuze y las potencias del cine : el acontecimiento de lo inorgánico -- 3. De la vida inorgánica a la vida histórica : recuperación del carácter narrativo del cine a partir de Jacques Ranciere.
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  19. added 2014-03-28
    Trame Del Fantastico: Riflessi E Sogni Nel Cinema.Alessandro Cappabianca - 2011 - L. Pellegrini.
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  20. added 2014-03-28
    Quand le Film Nous Parle: Rhétorique, Cinéma, Télévision.Guillaume Soulez - 2011 - Presses Universitaires de France.
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  21. added 2014-03-26
    Una Vita da Film: Come Il Cinema E la Filosofia Possono Aiutarci a Vincere le Sfide Della Vita.Giovanni Piazza - 2013 - Lindau.
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  22. added 2014-03-26
    Devenir Mere': Trajectories of the Maternal Bond in Recent Films Starring Isabelle Huppert.Ursula Tidd - 2012 - In Jean-Pierre Boulé & Ursula Tidd (eds.), Existentialism and Contemporary Cinema: A Beauvoirian Perspective. Berghahn Books.
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  23. added 2014-03-26
    Griots and Talanoa Speak: Storytelling as Theoretical Frames in African and Pacific Island Cinemas.Yifen Beus - 2012 - In Saër Maty Bâ & Will Higbee (eds.), De-Westernizing Film Studies. Routledge.
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  24. added 2014-03-26
    Cuerpo a Cuerpo: Radiografías Del Cine Contemporáneo.Domènec Font - 2012 - Círculo de Lectores.
    No hay nada más evocador que un cuerpo filmado: los rasgos y la piel, pero también los gestos y movimientos. Y es uno de los privilegios del cine poder llevar a cabo esa misión como ningún otro arte pudo hacerlo antes. Porque a través de las películas vemos la labor del tiempo, su transcurso, su implacable trabajo de demolición. El cine contemporáneo se nos aparece ahora como el laboratorio ideal para la investigación sobre el cuerpo, sobre los contactos que establece (...)
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  25. added 2014-03-26
    Affective Passions: The Dancing Female Body and Colonial Rupture in Zouzou (1934) and Karmen Geï (2001).Saër Maty Bâ & Kate E. Taylor-Jones - 2012 - In Saër Maty Bâ & Will Higbee (eds.), De-Westernizing Film Studies. Routledge.
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  26. added 2014-03-26
    Introduction.Saër Maty Bâ & Will Higbee - 2012 - In Saër Maty Bâ & Will Higbee (eds.), De-Westernizing Film Studies. Routledge.
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  27. added 2014-03-26
    Post-War Modernist Cinema and Philosophy: Confronting Negativity and Time.Hamish Ford - 2012 - Palgrave-Macmillan.
    Appropriate for both academic readers and informed general enthusiasts of the cinema it addresses, the book demonstrates both philosophy's particular usefulness for the analysis of modernist cinema and film form's inherent potential for ...
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  28. added 2014-03-26
    Questioning Discourses of Diaspora: "Black" Cinema as Symptom.Saër Maty Bâ - 2012 - In Saër Maty Bâ & Will Higbee (eds.), De-Westernizing Film Studies. Routledge.
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  29. added 2014-03-17
    Between Virgo and Virago : Spatial Perception and Gender Politics in Austrian Film Production, 1914-1918.Thomas Ballhausen - 2007 - In Vera Apfelthaler & Julia Köhne (eds.), Gendered Memories: Transgressions in German and Israeli Film and Theatre. Turia + Kant.
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  30. added 2014-03-17
    Planètes Sonores: Radiophonie, Arts, Cinéma.Alexandre Castant - 2007 - Monografik.
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  31. added 2014-03-17
    De Cine Somos: Críticas y Miradas Desde El Arte.Héctor J. Freire - 2007 - Topía Editorial.
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  32. added 2014-03-17
    Gendered Memories: Transgressions in German and Israeli Film and Theatre.Vera Apfelthaler & Julia Köhne (eds.) - 2007 - Turia + Kant.
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  33. added 2014-03-17
    El Cine y la Metáfora.Aguilar Moreno & José María - 2007 - Editorial Renacimiento.
    Y lo que es más decisivo, con El Cine y la Metáfora aprendemos a ver las películas de una manera más compleja, porque nos enseña a desmenuzar inteligentemente algunos de los elementos y objetos cotidianos que constituyen el alfabeto de ...
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  34. added 2014-03-17
    Postmodern Hollywood: What's New in Film and Why It Makes Us Feel so Strange.M. Keith Booker - 2007 - Praeger.
    Looks at the varied manifestations of postmodernism in an array of popular American films from the 1950s forward.
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  35. added 2014-03-17
    Gendai Eizō Geijutsuron: Eizō Sakka Katsudō No Shisōteki Haikei, 1970-Nen-200-Nen.Sei Kazama - 2007 - Shuppan Bunka Kenkyūkai.
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  36. added 2014-03-17
    Film Kao Vremenski Oblik: Predavanja Iz Estetike Filma.Sadudin Musabegović - 2007 - Armis Print.
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  37. added 2014-03-17
    Les Pel·Lícules Del Laberint: De Fellini a Coppola: Un Passeig Pel Nihilisme Cinematogràfic.Jordi Ramírez Asencio - 2006 - Pagès Editors.
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  38. added 2014-03-17
    Primum Videre, Deinde Philosophari: Una Historia de la Filosofía a Través Del Cine.Anacleto Ferrer (ed.) - 2006 - Institució Alfons El Magnànim, Diputació de València.
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  39. added 2014-03-16
    Il Giuda Digitale: Il Cinema Del Futuro Dalle Ceneri Del Passato.Massimo Nardin - 2008 - Carocci.
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  40. added 2014-02-19
    Seeing Ecology and Seeing as Ecology: On Brereton's Hollywood Utopia and the Anderson's Moving Image Theory.Brian E. Butler - 2007 - Film-Philosophy 11 (1):61-69.
    Joseph D. Anderson & Barbara Fisher Anderson Moving Image Theory: Ecological ConsiderationsCarbondale: Southern Illinois University Press.ISBN 0 8093 2599 3253pp.Pat Brereton Hollywood Utopia: Ecology in Contemporary American CinemaBristol: Intellect.ISBN 1 84150117 4270pp.
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  41. added 2013-08-19
    Concepts in Film Theory.Dudley Andrew - 1984 - Oxford University Press.
    Concepts in Film Theory is a continuation of Dudley Andrew's classic, The Major Film Theories. In writing now about contemporary theory, Andrew focuses on the key concepts in film study -- perception, representation, signification, narrative structure, adaptation, evaluation, identification, figuration, and interpretation. Beginning with an introductory chapter on the current state of film theory, Andrew goes on to build an overall view of film, presenting his own ideas on each concept, and giving a sense of the interdependence of these concepts. (...)
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  42. added 2013-06-16
    Hollywood Incoherent. [REVIEW]Ted Nannicelli - 2012 - British Journal of Aesthetics 52 (3):317-320.
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  43. added 2013-06-16
    A Montagem Cinematográfica E a Lógica Das Imagens.Maria de Fátima Augusto - 2004 - Fumec.
    Este livro é o resultado de um estudo sobre a teoria da montagem cinematográfica.
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