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  1. added 2019-04-29
    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 Mccarthy - 2010 - The Classical Review 60 (2):591-593.
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  2. added 2018-04-15
    Recovering Lost Moral Ground: Can Walt Make Amends?James Mahon & Joseph Mahon - 2016 - In Kevin Decker, David Koepsell & Robert Arp (eds.), Philosophy and Breaking Bad. New York, USA: 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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  3. added 2017-07-01
    Versuch über die Veränderung. Zu Breaking Bad.Thomas Khurana - 2016 - WestEnd. Neue Zeitschrift für Sozialforschung 13 (2):25-52.
  4. added 2015-08-26
    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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  5. added 2014-04-29
    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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  6. added 2014-03-29
    The Vampire with a Soul: Angel and the Quest for Identity.Amy Kind - 2010 - In Thomas Richard Fahy (ed.), The Philosophy of Horror. University Press of Kentucky. pp. 86.
  7. added 2014-03-29
    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. University Press of Kentucky. pp. 72.
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  8. added 2014-03-17
    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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  9. added 2014-03-17
    Boys, Boyz, Bois: An Ethics of Black Masculinity in Film and Popular Media.Keith M. Harris - 2006 - 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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  10. added 2013-12-19
    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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  11. added 2013-02-17
    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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  12. added 2012-07-28
    How I Met Your Mother and Philosophy.Lorenzo von Matterhorn (ed.) - forthcoming - Open Court.
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  13. added 2012-01-09
    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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  14. added 2012-01-09
    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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  15. added 2012-01-09
    Home, Exile, Homeland: Film, Media, and the Politics of Place.Hamid Naficy (ed.) - 1999 - 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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