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  1. 导演 观众 粉丝(Director, Audience, Fans).Lingfei Luan - forthcoming - Beijing, China: China Social Science Press.
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  2. Matthew Strohl, Why It’s OK to Love Bad Movies. New York, Routledge, 2022. ISBN: 0367407655. Paperback $24.95. [REVIEW]Mi Rae Ryu, Alexander Middleton & Travis Timmerman - forthcoming - Journal of Value Inquiry:1-9.
  3. Eliza Steinbock (2019) Shimmering Images: Trans Cinema, Embodiment, and the Aesthetic of Change.William Brown - 2022 - Film-Philosophy 26 (1):94-97.
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  4. David Huckvale (2020) Terrors of the Flesh: The Philosophy of Body Horror in Film.Kristina Šekrst - 2022 - Film-Philosophy 26 (2):280-283.
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  5. المرأة المغربية كموضوع بصري في سوسيولوجيا السينما: محاولة نقدية لتأسيس معرفة تتجاوز النقد الجمالي.حمزة الأندلوسي - 2022 - مجلة جيل العلوم الإنسانية والاجتماعية 9 (82):127-145.
    نَرُومُ من خلال هذه الدراسة استقراء ما تُتِيحُه البيبليوغرافيا البحثية حول موضوع أفلام المرأة وقضايا الجندر في السينما، إذ سَنَعْمَدُ على تحليل الدراسات المتوفِّرة بشكل نقدي، وذلك بغية الوقوف على حدود ما كُتب حول الموضوع. والحال أن مراجعاتنا النقدية قد قادتنا إلى الخروج باستنتاج مفاده أن حقل الدراسات السينمائية في العالم العربي عامةً والمغرب خاصةً لا يزال يُعاني من شُحٍّ على مستوى الكم، فقلة قليلة هم الباحثون في العلوم الإنسانية الذين يهتمون بموضوع السينما والثقافة البصرية، وظواهرها المركبة، التي تلتقي فيها (...)
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  6. Sound in Film.Paloma Atencia-Linares - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 189-214.
    This chapter is focused on the philosophy of film sound in the analytic tradition and its limitations; drawing from current literature in other fields, it aims to complement some philosophical discussions typically centered on the image with their aural counterparts. Firstly, it provides an overview of early skeptical views on the contribution of sound to the artistic status of films and critically questions the status of sound in contemporary philosophical conceptions of film suggesting a revision that takes seriously the idea (...)
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  7. 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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  8. The Sonic Art of Film and the Sonic Arts in Film.John Dyck - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 801-821.
    My goal in this chapter is threefold. First, I argue that film is, at least partly, an art of sound. Most films are not made merely to be seen; they are also made to be heard. This offers an alternative to traditional accounts of film, which take film to be an essentially visual artform, and it suggests new directions for research in philosophy of film. Second, I argue that there are several distinct arts of sound in film. Some of these (...)
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  9. Gillespie, Michael Boyce. Film Blackness: American Cinema and the Idea of Black Film. Duke University Press, 2016, 248 Pp., 50 B&W Illus., $23.95 Paper. [REVIEW]Kevin Jack Hagopian - 2018 - Journal of Aesthetics and Art Criticism 76 (1):119-123.
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  10. 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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  11. SMITH, MURRAY. Film, Art, and the Third Culture: A Naturalized Aesthetics of Film. Oxford University Press, 2017, Xiii + 294 Pp., 32 B&W Illust., $45.00 Cloth. [REVIEW]Katherine Thomson-Jones - 2018 - Journal of Aesthetics and Art Criticism 76 (3):356-359.
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  12. Murray Smith. Film, Art, and the Third Culture: A Naturalized Aesthetics of Film. Reviewed By. [REVIEW]Iris Vidmar - 2018 - Philosophy in Review 38 (3):123-125.
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  13. Phenomenology of Film: A Heideggerian Account of the Film Experience.Shawn Loht - 2017 - Lanham, Md: Lexington Books.
    This interdisciplinary study explores the relevance and application of Martin Heidegger’s phenomenology to key issues in the philosophy film. It develops a comprehensive look at how Heidegger’s thought illuminates historical and contemporary problems the film medium poses to philosophers.
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  14. Instances of Cinema.Ted Nannicelli - 2017 - Projections-The Journal for Movies and Mind 11 (1):1-15.
    This article sketches a commonplace yet neglected epistemic puzzle raised by the diversity of our film-viewing practices. Because our appreciative practices allow for variability in the " instances " of cinematic works we engage, many of our experiential encounters with those works are flawed or impoverished in a number of ways. The article outlines a number of ways in which instances of cinema can vary – including, for example, in terms of color, score, and aspect ratio. This variability of instances (...)
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  15. Film, Art, and the Third Culture: A Naturalized Aesthetics of Film.Murray Smith - 2017 - Oxford, UK: Oxford University Press.
    Murray Smith presents an original approach to understanding film. He brings the arts, humanities, and sciences together to illuminate artistic creation and aesthetic experience. His 'third culture' approach roots itself in an appreciation of scientific innovation and how this has shaped the moving media.
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  16. Still Life in a Narrative Age: Charlie Kaufman's Adaptation.Joshua Landy - 2011 - Critical Inquiry 37 (3):497-514.
    We are living in an age that is narratively obsessed: both in the academy and in popular culture, temporally articulated phenomena currently exert a vice-like grip over the collective imagination. Under such conditions, how may non-narrative sources of aesthetic power be made available once again to human observers? Charlie Kaufman’s response, in Adaptation, takes the form not of statements but of actions, of “philosophical therapy” for our insatiable narrative hunger. It leaves us, in the end, with two phenomena that have (...)
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  17. When is Film Art?Jesse Prinz - 2011 - Revue Internationale de Philosophie 258 (4):473-485.
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  18. Cinema as a Representational Art.Catharine Abell - 2010 - British Journal of Aesthetics 50 (3):273-286.
    In this paper, I develop a unified account of cinematic representation as primary depiction. On this account, cinematic representation is a distinctive form of depiction, unique in its capacity to depict temporal properties. I then explore the consequences of this account for the much-contested question of whether cinema is an independent representational art form. I show that it is, and that Scruton’s argument to the contrary relies on an erroneous conception of cinematic representation. CiteULike Connotea Del.icio.us What's this?
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  19. Daniel Herwitz (2008) Aesthetics.Daniel Barnett - 2009 - Film-Philosophy 13 (1):130-138.
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  20. Cinematic Art.Berys Gaut - 2002 - Journal of Aesthetics and Art Criticism 60 (4):299–312.
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  21. Time and Tense in Cinema.Alexander Sesonske - 1980 - Journal of Aesthetics and Art Criticism 38 (4):419-426.
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  22. Aesthetics of Film, or a Funny Thing Happened on the Way to the Movies.Alexander Sesonske - 1974 - Journal of Aesthetics and Art Criticism 33 (1):51-57.
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  23. Film as Art: 50th Anniversary Printing.Rudolf Arnheim - 1957 - University of California Press.
    In the fall of 1957 the University of California Press expanded Arnheim’s 1933 book _Film_ by four essays and brought that landmark work back into print as _Film as Art._ Now nearly fifty years after that re-edition, the book continues to occupy an important place in the literature of film. Arnheim’s method, provocative in this age of technological wizardry, was to focus on the way art in film was derived from that medium’s early limitations: no sound, no color, no three-dimensional (...)
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