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  1. Excavating Forgotten Critics From Minor Fictions: The Film Temptation (1946).Terence Rajivan Edward - manuscript
    I propose that the film Temptation, from 1946, presents us with a person, or type of person, who was once observed: she is very involved in evaluating the significance of highly specialist inquiries, in this case Egyptology, and evaluating borderline cases of literature, regarding which it is difficult to assess their long-term value. The film assists with addressing how The Golden Bough was actually received. An appendix proposes that the film is of interest to Derrideans.
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  2. The Philosophy of Film Noin by Mark T. Conrad.Travis J. Rodgers - 2005 - Intertexts 9 (2):180-183.
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  3. Hunter Vaughan (2019) Hollywood's Dirtiest Secret: The Hidden Environmental Costs of the Movies.Georgie Carr - 2022 - Film-Philosophy 26 (1):90-93.
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  4. Ethicizing Catastrophe: The Survivalist’s Case.Dror Pimentel - 2021 - Aesthetic Investigations 5 (1):91-98.
    The film The Survivalist portrays a dystopic world, wherein the most valuable asset is seeds. The 'seeds' metaphor applies both in the context of agriculture and in that of fecundity. The Survivalist's hostile hospitality toward a pair of nomads -- a mother and her daughter -- results in the pregnancy of the latter. In the last raid on his compound, the Survivalist allows the daughter to escape at the expense of his own life. This sacrifice manifests a severe critique against (...)
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  5. Exploring Film Genre Preferences Through Taste Cultures: A Survey on Contemporary Film Consumption Amongst Youth in Flanders.Daniël Biltereyst, Philippe Meers & Aleit Veenstra - 2020 - Communications 45 (2):240-251.
    This article explores contemporary film genre preferences through an in-depth sociological analysis of taste cultures in film preferences amongst youth aged 16–18 in Flanders. Building on a representative sample of 1015 respondents we statistically analyze the assumption that contemporary media audiences demonstrate mobility and that they are eager to shape their media consumption in accordance with their personal preferences. This article examines whether societal structures that have been found to reflect media preferences remain in place, or whether these structures have (...)
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  6. Philosophers on Film: Before Sunrise, Before Sunset, Before Midnight.Hans Maes & Katrien Schaubroeck (eds.) - 2021 - Routledge.
    Richard Linklater’s celebrated Before trilogy chronicles the love of Jesse (Ethan Hawke) and Céline (Julie Delpy) who first meet up in Before Sunrise, later reconnect in Before Sunset and finally experience a fall-out in Before Midnight. Not only do these films present storylines and dilemmas that invite philosophical discussion, but philosophical discussion itself is at the very heart of the trilogy. This book, containing specially commissioned chapters by a roster of international contributors, explores the many philosophical themes that feature so (...)
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  7. Identifying Documentary; Against the Trace Account.Shannon Brick - 2020 - Film and Philosophy 24:63-83.
    This article argues that we ought to reject Gregory Currie’s “Trace Account” of documentary film. According to the Trace Account, a film is a documentary so long the majority of its constitutive images are traces of the film’s subject matter. The argument proceeds by considering how proponents of the Trace Account could respond to Noel Carroll’s charge that their analysis is radically revisionary. I argue that the only responses available are either implausible or show that a fully worked out version (...)
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  8. The Palgrave Handbook of the Philosophy of Film and Motion Pictures.Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.) - 2019 - Springer.
    This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary social (...)
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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. The Silver Lining of Horror: A Devil’s Advocate’s Point of View.Dirk H. R. Spennemann - 2003 - Teaching Ethics 3 (2):93-97.
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  11. Chapter 18. Multimodal Expressions of the Human Victim is Animal Metaphor in Horror Films.Eduardo Urios-Aparisi & Charles J. Forceville - 2009 - In Eduardo Urios-Aparisi & Charles J. Forceville (eds.), Multimodal Metaphor. Mouton de Gruyter.
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  12. The Philosophy of Horror, or Paradoxes of the Heart.Mary Devereaux - 1992 - Philosophical Review 101 (4):950.
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  13. On the Consolation Offered by Leszek Kołakowski’s Metaphysical Horror.Janusz Dobieszewski - 2010 - Dialogue and Universalism 20 (7-8):21-38.
    The paper is a critical review of Leszek Kołakowski’s book Metaphysical Horror. According to Kołakowski, the starting-point of metaphysical horror is the awareness of changeability, transience, contingency and fragility of the world and human existence in face of the overwhelming and abysmal face of Nothingness. According to Kołakowski, the inevitable urge to overcome metaphysical horror leads to the idea of the Absolute, which can appear in two forms: God and cogito.What underlies the present paper is disagreement with Kołakowski’s perspective of (...)
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  14. Taming the Horror of Time.Werner Krieglstein - 2010 - Dialogue and Universalism 20 (7-8):77-80.
    Both nihilism and universalism are historical products of Western speculative philosophy. The failure of this philosophy to discover universally valid laws resulted in widespread despair, which at times created a suicidal atmosphere. The other worldly promises offered by dualistic world models made an escape into an alternate world attractive. This paper investigates whether Nietzsche’s proposal to rekindle the fire of life by recovering the Dionysian spirit in creative work is a feasible alternative to nihilistic despair. It goes on to investigate (...)
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  15. The Philosophy of Horror: Or, Paradoxes of the Heart.Noel Carroll - 1990 - Routledge.
    Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...)
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  16. To See the Saw Movies: Essays on Torture Porn and Post-9/11 Horror.James Aston & John Walliss (eds.) - 2013 - McFarland.
    "This collection addresses the Saw franchise--the highest grossing horror series of all time. The films are often derided as "torture porn." This collection addresses the cultural, religious and philosophical themes that run through the films; how the series explores such issues as freewill and determinism; representations of the body; and a Deleuzian perspective to the franchise"--.
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  17. Ideology, Socratic Elenchus, and Inglourious Basterds.Ian Schnee - 2013 - Film and Philosophy 17:1-22.
  18. Horror Metaphysicus.Leszek Kołakowski - 1990
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  19. Still Two Problematic Theses in Carroll's Account of Horror:: A Response to "Monsters and the Moving Image".Brian Laetz - 2010 - American Society for Aesthetics Graduate E-Journal 2 (1):8-16.
    Noël Carroll’s seminal account of horror involves two original suggestions that distinguish his theory from previous views of the genre. One is that audiences are supposed to parallel the emotional responses that certain characters have when they confront horror monsters. The other is that horror monsters are supposed to disgust audiences, because they are impure. Recently, I argued that each thesis is falsified by counterexamples in a variety of well-recognized horror fictions. In response, Carroll claims these criticisms either distort or (...)
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  20. Horror-Ritual: Horror Movie Villains as Collective Representations, Uncanny Metaphors and Ritual Transgressors.Mario Rodríguez - 2009 - Colloquy 18:209-225.
    This paper explores the ritual function of horror movie villains from multiple perspectives within ritual studies, with particular emphasis on the functionalist branch and Roy Rappaport’s definition that ritual is “the per- formance of more or less invariant sequences of formal acts and utterances not entirely encoded by performers.” 1 First, the paper considers the ways in which horror movie villains are hybrid collective representations in the sense of French sociologist Emile Durkheim and uncanny metaphors mobilised through media as described (...)
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  21. The Semantic Horror Vacui, The First Twenty Four Hours.Djordje Vidanovic - 2005 - Facta Universitatis, Series: Linguistics and Literature 3 (2):273-275.
    This short essay is an excerpt from a more comprehensive text dealing with the fundamental issues in semantics such as the relationship between language and reality and the degrees of truth that this relationship may achieve.
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  22. Horror's Twin: Mary Shelley's Monstrous Eve.Sandra M. Gilbert - 1978 - Feminist Studies 4 (2):48.
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  23. Forgotten History - Another Holy Horror.James Haught - 2007 - Free Inquiry 27:46-47.
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  24. The Philosophy of Horror. [REVIEW]Gary Kitchen - 1991 - Radical Philosophy 58.
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  25. 'Uncanny Dread': Four Case Studies in Contemporary Horror and the Family.Kirsten Moana Thompson - 1998 - Dissertation, New York University
    This dissertation is a constellational study of four horror films of the nineties. Linking Freud's psychoanalytic theories of the uncanny, temporal theories of trauma and Kierkegaard's theorizations of dread and fear in The Concept of Dread and Fear and Trembling, I examine the conceptual and philosophical aspects of dread, trauma and the uncanny, as they jointly but differentially form a constellational cryptology of the experiential and philosophical dimensions of horror spectatorship. The interlocked spatial and temporal dimensions that attach themselves to (...)
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  26. Powers of Horror: An Essay on Abjection.Julia Kristeva - 1982 - Columbia University Press.
  27. The Monster Out.Myung Choi & Ik Suk Kim - 2006 - Semiotics:271-278.
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  28. Horror Movies and the Cognitive Ecology of Primary Metaphors.Bodo Winter - 2014 - Metaphor and Symbol 29 (3):151-170.
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  29. Women as Cultural Wound: Korean Horror Cinema and the Imperative of Han.Hock Soon Ng - unknown
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  30. Stalking the Web: Horror Film Celebration, Chat and Marketing on the Internet.Brigid Cherry - unknown
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  31. A Frame for The Horror of the West.N. Lawtoo - unknown
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  32. Rational Horror.Steven J. Smith - 1983 - Philosophy Today 27 (4):307-316.
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  33. Horror and the Deconstruction of the Self.Jerome A. Miller - 1988 - Philosophy Today 32 (4):286-298.
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  34. On Memory and Horror A Response to Tzveran Todorov.G. M. Tamas - 1996 - Common Knowledge 5:27-32.
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  35. Horror Relïgiosus.Hent de Vries - 2000 - Krisis 1 (4):41-53.
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  36. La Memoria Del Horror En la Narrativa de Jorge Semprún.José Ortega - forthcoming - Iris.
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  37. Horror Temporis.Benjamin Noys - 2008 - Collapse: Philosophical Research and Development 4.
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  38. Feminist Frameworks for Horror Films.Cynthia A. Freeland - 1996 - In David Bordwell Noel Carroll (ed.), Post-Theory: Reconstructing Film Studies. University of Wisconsin Press. pp. 195--218.
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  39. Nasty Histories: Medievalism and Horror.John Arnold - 1998 - In John Arnold, Kate Davies & Simon Ditchfield (eds.), History and Heritage: Consuming the Past in Contemporary Culture. Donhead. pp. 39--50.
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  40. Heidegger, the Uncanny, and Jacques Tourneur's Horror Films.Curtis Bowman - 2003 - In Steven Jay Schneider & Daniel Shaw (eds.), Dark Thoughts: Philosophic Reflections on Cinematic Horror. Scarecrow Press. pp. 65--83.
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  41. Real Horror.Robert C. Solomon - 2003 - In Steven Jay Schneider & Daniel Shaw (eds.), Dark Thoughts: Philosophic Reflections on Cinematic Horror. Scarecrow Press.
    Horror is not the same as fear, and while fear contains an essential action tendency horror does not. And while we can enjoy fear there is no enjoying of horror.
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  42. El Testimonio En la Era de Las Catástrofes: El Horror Como Experiencia Traumática.Laura Arias - 2010 - In María G. Navarro, Betty Estévez & Antolín Sánchez Cuervo (eds.), Claves Actuales de Pensamiento. Csic/Plaza y Valdés. pp. 45--62.
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  43. “Is It the End, My Friend?” Black Sabbath's Apocalypse of Horror.Brian Froese - 2013 - In William Irwin (ed.), Black Sabbath and Philosophy: Mastering Reality. Wiley. pp. 20--30.
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  44. 29 From The Philosophy of Horror.Noel Carroll - 1998 - In Carolyn Korsmeyer (ed.), Aesthetics: The Big Questions. Blackwell. pp. 2--274.
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  45. Heidegger on Wonder and Horror.L. Bottani - 1992 - Verifiche: Rivista Trimestrale di Scienze Umane 21 (3):301-320.
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  46. The Philosophy of Horror or Paradoxes of the Heart.Noel Carroll - 1991 - Philosophical Quarterly 41 (165):519.
    Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...)
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  47. Odysseus and Achilleus in the Iliad: Hidden Hermeneutic Horror in Readings of the Presbeia.Rainer Friedrich - 2011 - Hermes 139 (3):271-290.
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  48. Este não é um filme de ficção: notas sobre o som em falsos documentários de horror.Rodrigo Carreiro - 2013 - Logos: Comuniação e Univerisdade 20 (1).
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  49. The Editor’s Afterword: The Universalism Imperative Vs. Horror Metaphysicus and Horror Politicus.Janusz Kuczyński & Maciej Bańkowski - 2004 - Dialogue and Universalism 14 (3/4):51-81.
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  50. The Philosophy of Horror or Paradoxes of the Heart.Ira Newman - 1991 - Philosophical Books 32 (3):185-186.
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1 — 50 / 180