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  1. Cinema and Machine Vision: Artificial Intelligence, Aesthetics and Spectatorship.Daniel Chavez Heras - 2024 - Edinburgh: Edinburgh University Press.
    Cinema and Machine Vision unfolds the aesthetic, epistemic, and ideological dimensions of machine-seeing films and television using computers. With its critical-technical approach, this book presents to the reader key new problems that arise as AI becomes integral to visual culture. The book theorises machine vision through a selection of aesthetics, film theory, and applied machine learning research, dispelling widely held assumptions about computer systems designed to watch and make images on our behalf. -/- At its heart, Cinema and Machine Vision (...)
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  2. L'umano tra tecnica capillare e spirito capitalistico. "Cyberpunk: Edgerunners" di Rafal Jaki.Gianmaria Avellino - 2023 - Fata Morgana Web.
  3. Macchine Empatiche? "Pluto" di Toshio Kawaguchi.Gianmaria Avellino - 2023 - Fata Morgana Web.
  4. TV Time, Recurrence, and the Situation of the Spectator: An Approach via Stanley Cavell, Raúl Ruiz, and Ruiz’s Late Chilean Series Litoral.Byron Davies - 2023 - In Sandra Laugier David LaRocca (ed.), Television with Stanley Cavell in Mind. Exeter, UK: University of Exeter Press. pp. 191-221.
    This essay distinguishes some significant commonalities and differences between the film-philosophies of Chilean filmmaker Raúl Ruiz (especially in his book Poetics of Cinema) and U.S. philosopher Stanley Cavell. I argue that despite shared senses of the poetics of the film image and certain shared philosophical references, Ruiz and Cavell differed over their conceptions of the model spectator and their relations to autonomous films and worlds from which spectators are excluded (on Cavell's picture) versus fragments out of which the spectator might (...)
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  5. Aesthetic Cognitivism and Serialized Television Fiction.Iris Vidmar Jovanović - 2023 - Journal of Aesthetics and Art Criticism 81 (1):69-79.
    In this article, I defend the cognitive value of certain generic television series. Unlike media and television scholars, who have been appreciative of the informative capacity of television fiction, philosophers have been less willing to acknowledge the way in which these works contribute to our understanding of our social reality. My aim here is to provide one such account, grounded in aesthetic cognitivism, that is, the view that fiction is a source of knowledge. Focusing on crime and courtroom dramas, I (...)
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  6. Primera Guerra Mundial y Segunda Guerra Mundial: desintegración familiar en el universo rural de Schabbach en Heimat (1984).Jesús Miguel Delgado Del Aguila - 2022 - Revista Estudios 45 (45):1-21.
    La producción alemana Heimat (1984) del director Edgar Reitz consta de 11 largometrajes que abordan, principalmente, la Primera Guerra Mundial y la Segunda Guerra Mundial; además de las repercusiones psicológicas, sociales y económicas que generan en los pobladores estos eventos históricos. Este conjunto de filmes se enfoca en un espacio rural denominado Schabbach. En ese lugar, se aprecia el desarrollo y la evolución de una genealogía que se supedita a la relación de María y Paul Simon, pero desde una perspectiva (...)
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  7. Conan, el niño del futuro (1978): alegoría de la lucha contra el sistema hegemónico.Jesús Miguel Delgado Del Aguila - 2022 - Quadrata. Estudios Sobre Educación, Artes y Humanidades 4 (8):127-138.
    Conan, el niño del futuro (1978) es un dibujo animado oriental que plasma a una sociedad futurista que ha sobrevivido a la Tercera Guerra Mundial. El personaje principal, un niño de 10 años, aparece en la historia para impedir que el grupo hegemónico continúe con su pretensión de dominar el mundo, sin importar la tiranía que ejercen contra los ciudadanos. Para lograr ese vil propósito, las autoridades de Isla Industria han incurrido en escenarios en los que se observa la esclavitud, (...)
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  8. The Specter of the Electronic Screen: Bruno Varela's Reception of Stanley Cavell.Byron Davies - 2021 - In David LaRocca (ed.), Movies with Stanley Cavell in Mind. London, UK: pp. 72-90.
    An analysis of some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela via the latter’s reading of the late U.S. philosopher Stanley Cavell, especially Cavell’s 1982 essay “The Fact of Television.” This essay focuses on the aesthetic possibilities of the very constitution of the electronic image, based in Cavell’s understanding of television’s dependence on notions of “switching,” as opposed to “succession,” as well as how those notions play a role in Varela’s understanding of what it is (...)
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  9. Fiction, Philosophy, and Television: The Case of Law and Order: Special Victims Unit.Iris Vidmar Jovanović - 2021 - Journal of Aesthetics and Art Criticism 79 (1):76-87.
    This article lies at the intersection of two problems: the one concerning the potential of fictional works to inform us about our social reality and foster our understanding of its various aspects, and the one concerning their potential to engage with philosophical issues. I bring these two together by analyzing the hit television series Law and Order: Special Victims Unit. According to my interpretation, the series is informative about our social world, and it raises philosophical concerns about it. This makes (...)
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  10. Introduction: The Leftovers, Philosophy and Popular Culture.Susana Viegas - 2021 - Cinema: Journal of Philosophy and the Moving Image 13 (13):7-20.
  11. The Post-Human Media Semblance: Predictive Catastrophism.Ekin Erkan - 2020 - Rhizomes: Cultural Studies in Emerging Knowledge 36.
    Since the advent of media archeology, a deep-seated bifurcation has found one end of the field arguing for the interventionist and appropriative weaponization of media whereas the other side has championed a “total war” with technology itself, insisting that new media’s military-industrial roots inherently color its drivability. Here, I implore a moment within the cultural history of net.art and post-internet art to examine how contemporaneous queries about control after militarism and decentralization, as prognosticated by Paul Virilio and Gilles Deleuze, are (...)
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  12. Divine dna? “Secular” and “religious” representations of science in nonfiction science television programs.Will Mason-Wilkes - 2020 - Zygon 55 (1):6-26.
    Through analysis of film sequences focusing on DNA in two British Broadcasting Corporation nonfiction science television programs, Wonders of Life and Bang! Goes the Theory, first broadcast in 2013, contrasting “religious” and “secular” representations of science are identified. In the “religious” portrayal, immutable scientific knowledge is revealed to humanity by nature with minimal human intervention. Science provides a creation story, “explanatory omnicompetence,” and makes life existentially meaningful. In the “secular” portrayal, scientific knowledge is changeable; is produced through technical skill in (...)
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  13. What is it like to be a host?Bradley Richards - 2018 - In James South & Kimberly Engels (eds.), Westworld and Philosophy. Wiley-Blackwell. pp. 79-89.
    The consciousness of the hosts is a major theme in Westworld, and for good reason. Hosts are not philosophical zombies. The hosts act like they have feelings, like they suffer and fear, like they enjoy the yellow, pink, and blue tones of a beautiful sunset. This chapter examines the analogs of memory, perception, and emotion in hosts. Hosts have a very troubling relationship to memory. Although using a different visual style would denote unique host experience, using the same visual style (...)
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  14. Орфографічні й лексичні помилки в крос-медійних ЗМІ: типологія, причини виникнення.Iryna Marynenko - 2017 - Language: Classic – Modern – Postmodern 3:227-235.
    Статтю присвячено аналізові евфонічних, орфографічних, лексико-семантичних помилок, яких припускаються журналісти інтернет-ЗМІ. Систематизовані анормативи, зібрані із сучасних крос-медійних матеріалів, визначено чинники, які спричинили їх виникнення, наведено приклади типових помилок із сайтів інформаційних агенцій, інтернет-версій періодичних видань і телеканалів, сайтів державних установ.
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  15. Versuch über die Veränderung. Zu Breaking Bad.Thomas Khurana - 2016 - WestEnd. Neue Zeitschrift für Sozialforschung 13 (2):25-52.
    Wie wird man der, der man ist? Die Frage ist zweideutig. Zum einen scheint sie danach zu fragen, wie man durch all das, was einem geschieht und was man tut, schließlich zu jener bestimmten Person wird, die man zu einem gewissen Zeitpunkt ist. Zugleich zielt die Frage darauf, wie man das einholt, was man »ist«, es nicht nur ist, sondern wirklich wird. Die Frage wirft also einerseits das Problem der Verkettung von Taten, Umständen und Wirkungen auf, die das Produkt einer (...)
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  16. Recovering Lost Moral Ground: Can Walt Make Amends?James Mahon & Joseph Mahon - 2016 - In Kevin S. Decker, David R. Koepsell & Robert Arp (eds.), Philosophy and Breaking Bad. Cham: Palgrave Macmillan. pp. 143-160.
    Is it possible to recover lost moral ground? In the closing episodes of the TV show "Breaking Bad", it becomes clear that the protagonist, Walter White, believes that the correct answer to this question is an affirmative one. Walt believes that he can, and that he has, recovered lost moral ground. "Breaking Bad" may be said to explore two distinct and incompatible ways of attempting to recover lost moral ground. The first way is revisionist. This is to rewrite the script (...)
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  17. The Camera Movement in Relation to Narration in Animated Films: a Practice-Oriented Study.Hadis Malekie & Mohammad Reza Hosnaee - 2016 - Journal of Dramatic Arts and Music 6 (11):81-95.
    As a core element of film language, camera movement plays a crucial role in narrative explanation, character shaping, and theme development in cinema. Although camera movements in animation movies are often implemented to add excitement to shots, their best use is when new narrative is revealed. In this paper we have studied the aspects of narration that can be presented by camera movement in animation. We put our question on whether camera movement can have a role in narration or not; (...)
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  18. Minerva’s Night Out: Philosophy, Pop Culture, and Moving Pictures. [REVIEW]Rafe McGregor - 2015 - British Journal of Aesthetics 55 (2):252-255.
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  19. A Life Not Worth Living.Jami L. Anderson - 2014 - In David P. Pierson (ed.), Breaking Bad: Critical Essays on the Contexts, Politics, Style, and Reception of the Television Series. Lexington Press. pp. 103-118.
    What is so striking about Breaking Bad is how centrally impairment and disability feature in the lives of the characters of this series. It is unusual for a television series to cast characters with visible or invisible impairments. On the rare occasions that television shows do have characters with impairments, these characters serve no purpose other than to contribute to their ‘Otherness.’ Breaking Bad not only centralizes impairment, but impairment drives and sustains the story lines. I use three interrelated themes (...)
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  20. Empathy for the devil: Why on earth do we love Barney Stinson?Bence Nanay - 2014 - In Lorenzo Van Matterhorn (ed.), How I Met Your Mother and Philosophy. Chicago: Open Court.
    The problem of why we identify with Barney Stinson on the show How I Met Your Mother.
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  21. What Makes Jeopardy! a Good Game?Brendan Shea - 2013 - In Shaun P. Young (ed.), Jeopardy! and Philosophy: What is Knowledge in the Form of a Question? Open Court. pp. 27-39.
    Competitive quiz shows, and Jeopardy! in particular, occupy a unique place among TV game shows. The most successful Jeopardy! contestants—Ken Jennings, Brad Rutter, Frank Sparenberg, and so on—have appeared on late night talk shows, been given book contracts, and been interviewed by major newspapers. This sort of treatment is substantially different than, say, the treatment that the winners of The Price is Right or Deal or No Deal are afforded. The distinctive status of quiz shows is evidenced in other ways (...)
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  22. How I Met Your Mother and Philosophy: Being and Awesomeness.Lorenzo von Matterhorn (ed.) - 2013 - Open Court.
    Presents a collection of essays by philosophers about the television program "How I Met Your Mother," analyzing the personalities and behavior of its various characters from a moral and philosophical point of view.
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  23. Ontology, Intentionality, and Television Aesthetics.Ted Nannicelli - 2012 - Screen 53 (2):164-179.
    This essay suggests that television aesthetics, as a research project, would benefit from attending to relevant theoretical debates in philosophical aesthetics. One reason for this is that assumptions about the ontology of television artworks are already embedded in our critical practices. We ought to be more aware of what these assumptions are and state them more explicitly. Moreover, I argue, for debates in television aesthetics to get off the ground, we need to ensure we bring the largely the same ontological (...)
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  24. Shows About Nothing: Nihilism in Popular Culture.Thomas S. Hibbs - 2011 - Baylor University Press.
    Nihilism, American style -- The quest for evil -- The negative zone : suburban familial malaise in American beauty, Revolutionary road, and Mad men -- Normal nihilism as comic : Seinfeld, Trainspotting, and Pulp fiction -- Romanticism and nihilism -- Defense against the dark arts : from Se7en to the Dark knight and Harry Potter -- God got involved : sacred quests and overcoming nihilism -- Feels like the movies.
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  25. On the grounds of television.Meghan Sutherland - 2011 - In John David Rhodes & Elena Gorfinkel (eds.), Taking Place: Location and the Moving Image. University of Minnesota Press.
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  26. The vampire with a soul: Angel and the Quest for identity.Amy Kind - 2010 - In Thomas Richard Fahy (ed.), The philosophy of horror. Lexington, Ky.: University Press of Kentucky. pp. 86.
  27. Qvo Vadis - Scodel, Bettenworth Whither Quo Vadis? Sienkiewicz's Novel in Film and Television. Pp. x + 292, ills. Malden, MA and Oxford: Wiley–Blackwell, 2009. Cased, £50, €67.50. ISBN: 978-1-4051-8385-7. [REVIEW]William J. Mccarthy - 2010 - The Classical Review 60 (2):591-593.
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  28. Making their presence known: Tv's ghost-hunter phenomenon in a "post-" world.Jessica O'Hara - 2010 - In Thomas Richard Fahy (ed.), The philosophy of horror. Lexington, Ky.: University Press of Kentucky. pp. 72.
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  29. Witnessing, credibility, and female perpetrators : eyewitnesses in television documentaries about national socialism.Judith Keilbach - 2007 - In Vera Apfelthaler & Julia Köhne (eds.), Gendered Memories: Transgressions in German and Israeli Film and Theatre. Turia + Kant.
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  30. Boys, boyz, bois: an ethics of Black masculinity in film and popular media.Keith M. Harris - 2006 - New York: Routledge.
    Boys, Boyz, Bois concerns questions of ethics, gender and race in popular American images, national discourse and cultural production by and about black men. The book proposes an ethics of masculinity, as ethnics refers to a system of morality and valuation and as ethics refers to a care of the self and ethical subject formation. The texts of analysis include recent films by black/African American filmmakers, gansta rap and hip-hop and black star persona: texts ranging from Blaxploitation and New Black (...)
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  31. Home, exile, homeland: film, media, and the politics of place.Hamid Naficy (ed.) - 1999 - New York: Routledge.
    Global changes in capital, power, technology and the media have caused massive shifts in how we define home and community, leaving redrawn territories and globalized contexts. This interdisciplinary study of the media brings together essays by accomplished critics to discuss the way film, television, music, and computer and electronic media are shaping identities and cultures in an increasingly globalized world. Ranging from intensely personal to highly theoretical, the contributors explore our complex negotiation of "home" and homeland" in a postmodern world. (...)
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