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  1. added 2020-04-20
    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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  2. added 2019-09-10
    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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  3. added 2019-07-05
    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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  4. added 2018-12-27
    导演 观众 粉丝(Director, Audience, Fans).Lingfei Luan - forthcoming - Beijing, China: China Social Science Press.
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  5. added 2014-05-08
    Daniel Herwitz (2008) Aesthetics.Daniel Barnett - 2009 - Film-Philosophy 13 (1):130-138.
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  6. added 2014-03-06
    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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  7. added 2013-06-16
    When is Film Art?Jesse Prinz - 2011 - Revue Internationale de Philosophie 258 (4):473-485.
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  8. added 2013-06-16
    Cinematic Art.Berys Gaut - 2002 - Journal of Aesthetics and Art Criticism 60 (4):299–312.
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  9. added 2013-06-16
    Time and Tense in Cinema.Alexander Sesonske - 1980 - Journal of Aesthetics and Art Criticism 38 (4):419-426.
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  10. added 2013-06-16
    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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