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  1. 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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  2. Is It Distinctively Wrong to Simulate Doing Wrong?John Tillson - 2018 - Ethics and Information Technology 20 (3):205-217.
    This paper is concerned with whether there is a moral difference between simulating wrongdoing and consuming non-simulatory representations of wrongdoing. I argue that simulating wrongdoing is (as such) a pro tanto wrong whose wrongness does not tarnish other cases of consuming representations of wrongdoing. While simulating wrongdoing (as such) constitutes a disrespectful act, consuming representations of wrongdoing (as such) does not. I aim to motivate this view in part by bringing a number of intuitive moral judgements into reflective equilibrium, and (...)
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  3. The Value of Fidelity in Adaptation.James Harold - 2018 - British Journal of Aesthetics 58 (1):89-100.
    © British Society of Aesthetics 2018. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comThe adaptation of literary works into films has been almost completely neglected as a philosophical topic. I discuss two questions about this phenomenon:What do we mean when we say that a film is faithful to its source?Is being faithful to its source a merit in a film adaptation?In response to, I set out two distinct (...)
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  4. The Finale of A.I. Artificial Intelligence.Alessandro Giovannelli - 2017 - Film and Philosophy 21:1-16.
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  5. Reframing the Responsibilities of Bystanders Through Film.Stephen L. Esquith - 2013 - Political Theory 41 (1):33-60.
    Political responsibilities for systemic mass violence have been subordinated to the moral guilt and legal liability of perpetrators and collaborators, while the role of the bystander has been narrowly construed in terms of charitable rescue or negligence. This dominant victim–perpetrator framework ignores the complex political dimensions of bystander responsibilities for systemic mass violence, especially those responsibilities that stem from the benefits that bystanders receive. The films of Claude Lanzmann, Rithy Panh, and Yael Hersonski contain elements of an alternative framework of (...)
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The Art of Film
  1. 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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  2. 导演 观众 粉丝(Director, Audience, Fans).Lingfei Luan - forthcoming - Beijing, China: China Social Science Press.
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  3. 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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  4. Daniel Herwitz (2008) Aesthetics.Daniel Barnett - 2009 - Film-Philosophy 13 (1):130-138.
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  5. 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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  6. Cinematic Art.Berys Gaut - 2002 - Journal of Aesthetics and Art Criticism 60 (4):299–312.
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  7. When is Film Art?Jesse Prinz - 2011 - Revue Internationale de Philosophie 258 (4):473-485.
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  8. 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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  9. Time and Tense in Cinema.Alexander Sesonske - 1980 - Journal of Aesthetics and Art Criticism 38 (4):419-426.
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Medium Specificity in Film
  1. 导演 观众 粉丝(Director, Audience, Fans).Lingfei Luan - forthcoming - Beijing, China: China Social Science Press.
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  2. 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. How Movies Do Philosophy.Wack Daniel - 2014 - Film and Philosophy 18.
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  4. Artistic Medium.Wack Daniel - 2017 - Internet Encyclopedia of Philosophy.
    Artistic medium is an art critical concept that first arose in 18th century European discourse about art. Medium analysis has, historically, attempted to identify that out of which works of art and, more generally, art forms are created, in order to better articulate norms or standards by which works of art and art forms can be evaluated. Since the 19th century, medium analysis has emerged in two different forms of art critical and theoretical discourse. Within traditional art forms such as (...)
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  5. Was hat Musik im Film zu suchen?Andreas Dorschel - 2005 - In Tonspuren. Musik im Film: Fallstudien 1994 - 2001. Universal Edition. pp. 12-21.
    Attempts to bestow a musical background upon spoken drama have been deemed widely superfluous; most films, by way of contrast, do employ music. This aesthetic divergence invites an account of film music in terms of lack and compensation. The standard account in such terms, viz. that music has to fill the vacuum of silence, does not explain what it is supposed to explain. Rather, music in cinema can restore in a different way the expression lost as reality is reduced to (...)
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  6. Cinematic.Aaron Smuts - 2013 - Nordic Journal of Aesthetics 23 (46):78-95.
    Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We are (...)
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  7. Medium-Involving Explanations and the Philosophy of Film.Angela Curran - 2012 - British Journal of Aesthetics 52 (2):191-195.
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Film and Morality
  1. Пропаганда у сучасному російському кінематографі.Vladyslav Levytskyi - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:29-32.
    Статтю присвячено розгляду пропаганди у сучасному російському кінематографі. Зроблено спробу оглянути і порівняти обмежену вибірку фільмів 2009–2014 рр., показати прийоми пропаганди і їх зв’язок між внутрішньою та зовнішньою політикою Російської Федерації.
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  2. There's Something About Marla: Fight Club and the Engendering of Self-Respect.Cynthia Stark - 2012 - In Thomas E. Wartenberg (ed.), Fight Club. New York, NY, USA: pp. 51-77.
    My article discusses the character of Marla, the narrator’s lover, in the film Fight Club. Her only option, within the terms of the film’s logic, I argue, is to define her worth derivatively, by association with the narrator. Fight Club, then, despite its somewhat self-effacing attitude about the rejuvenation of masculinity that it portrays, reinforces a familiar patriarchal story: men’s sense of worth lies in their joint world-making activities. Women’s sense of worth lies in their attachment to individual men who (...)
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  3. An Apocalypse of Pop, Pt II: Vox Lux.Paul Bali - manuscript
  4. 导演 观众 粉丝(Director, Audience, Fans).Lingfei Luan - forthcoming - Beijing, China: China Social Science Press.
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  5. The Twisted Femmes Fatales of Christopher Nolan.Kania Andrew - 2014 - Aesthetics for Birds.
    Philosophical reflections on the trope of the femme fatale in the films of Christopher Nolan.
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  6. A Double-Edged Sword: Honor in "The Duellists".James Edwin Mahon - 2013 - In Alan Barkman, Ashley Barkman & Nancy King (eds.), The Culture and Philosophy of Ridley Scott. Lexington Books. pp. 45-60.
    In this essay I argue that Ridley Scott's first feature film, The Duelists, which is an adaptation of a Joseph Conrad novella, contains his deepest meditation on honor in his entire career. The film may be said to answer the following question about honor: is being bound to do something by honor, when it is contrary to one's self-interest, a good thing, or a bad thing? It may be said to give the answer that it may be either good or (...)
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  7. All's Fair in Love and War? Machiavelli and Ang Lee's "Ride With the Devil".James Edwin Mahon - 2013 - In Robert Arp, Adam Barkman & Nancy King (eds.), The Philosophy of Ang Lee. University Press of Kentucky. pp. 265-290.
    In this chapter I argue that Machiavelli does not hold that all deception is permissible in war. While Machiavelli claims that "deceit... in the conduct of war is laudable and honorable," he insists that such deceit, or ruses of war, is not to be confounded with perfidy. Any Lee's U.S. Civil War film, "Ride With the Devil," illustrates this difference. The film also illustrates the difference between lying as part of romance, which is permitted, and lying at the moment of (...)
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  8. La Paradoja del Suspenso Anómalo.Gemma Arguello Manresa - 2016 - Daimon: Revista Internacional de Filosofía 68:49-65.
    Resumen: En este trabajo se aborda lo que en los debates recientes de filosofía del cine se ha denominado la paradoja del suspenso. Esta paradoja radica en el problema de que algunos espectadores sienten suspenso frente a una narración que ya conocían, partiendo del presupuesto de que la incertidumbre es un estado cognitivo necesario para sentir esta emoción. Se analizan varias propuestas recientes y se ofrece una alternativa a la mismas en la que se recupera la simpatía y la anticipación (...)
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  9. Star Trek Into Darkness--Ethical Impartiality, Partiality, and the Need for a Male/Female Synthesis.Jeremy DeLong - 2015 - Film and Philosophy 19:141-63.
    This paper analyzes the ethical themes and theory portrayals by particular characters in Star Trek: Into Darkness. It is concluded that the film can be understood as explicating the pros and cons of both "male" and "female" ethical perspectives, and that a comprehensive understanding of morality requires some synthesis of both perspectives.
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  10. Scotland as a Site of Sacrifice.Marmysz John - 2014 - Film International 12 (2):6-17.
    Friedrich Nietzsche delineates three stages of sacrificial behavior. The first stage consists of the sacrifice of particular human beings to a god. The second stage involves the sacrifice of one’s own instincts to a god, and the third stage culminates in the sacrifice of God himself. This last stage describes the death of God and signals the “final cruelty” of our present times. Our age is the age of nihilism, the point in history during which humans “sacrifice God for the (...)
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  11. Understanding Love: Philosophy, Film, and Fiction.Susan Wolf & Christopher Grau (eds.) - 2014 - Oxford University Press.
    A unique and interdisciplinary collection in which scholars from Philosophy join those from Film Studies, English, and Comparative Literature to explore the nature and limits of love through in-depth reflection on particular works of literature and film.
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  12. Buster Keaton and the Puzzle of Love.Timothy Yenter - 2015 - In Ken Morefield & Nick Olson (eds.), Masters of World Cinema, Vol. 3. Cambridge Scholars Press. pp. 31-43.
    Despite the notable lack of Chaplinesque romantic flourishes, Buster Keaton has a sophisticated approach to romantic love in his films. Love in Keaton’s films is a mutual recognition and admiration for the physical and mental competence necessary to deal with an absurd, cruel, or indifferent social and physical environment and an agreement to face the world together. There are two ways in which this claim might seem surprising to someone familiar with Keaton’s films. Keaton’s famously stoic persona seems to be (...)
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  13. 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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  14. Happy-Go-Lucky Revisited: A Response to Basileios Kroustallis.Christopher Grau - 2015 - Film-Philosophy 19 (1):1-15.
  15. Philosophy of Disability.Christine James - 2008 - Essays in Philosophy 9 (1):1-10.
    Disability has been a topic of heightened philosophical interest in the last 30 years. Disability theory has enriched a broad range of sub-specializations in philosophy. The call for papers for this issue welcomed papers addressing questions on normalcy, medical ethics, public health, philosophy of education, aesthetics, philosophy of sport, philosophy of religion, and theories of knowledge. This issue of Essays in Philosophy includes nine essays that approach the philosophy of disability in three distinct ways: The first set of three essays (...)
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  16. Film and Morality.Philip Gillett - 2012 - Cambridge Scholars Press.
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  17. Breviario di Estetica Audiovisiva Amatoriale: Natura, Immagine, Etica.Fabrizio Ferraro - 2006 - Deriveapprodi.
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  18. Processo Al Buio: Lezioni di Etica in Venti Film.Remo Danovi - 2010 - Rizzoli.
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Film Evaluation, Misc
  1. 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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  2. Філософія кіно, метод моделювання та проблема декадентського кінотвору.Olga Kirillova - 2018 - NaUKMA Research Papers. History and Theory of Culture 1:17-23.
    Статтю присвячено реконструкції узагальненої моделі твору декадентського кінематографа як стилізованого кінематографа moderne, що є яскравим прикладом застосування філософської інтерпретації до кінематографа і феномену кінореальності. Ця модель має такі рівні: морфологічний, стилістичний, інтертекстуальний, ритмічний, аудіальний, тактильний, монтажний, специфічно-антропологічний і специфічно-наративний.
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  3. 导演 观众 粉丝(Director, Audience, Fans).Lingfei Luan - forthcoming - Beijing, China: China Social Science Press.
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  4. What Can Hume Teach Us About Film Evaluation.Robert R. Clewis - 2014 - Aisthema 1 (2):1-22.
    This article identifies three distinct temporal notions in Hume’s aesthetics: passing the test of time, repeated viewing of a work, and the personal aging of the critic. It applies these ideas to the evaluation and enjoyment of films. It characterizes positive, negative, and ambivalent film aging, which are associated with nostalgia, boredom, and comic amusement, respectively, and which bear on our enjoyment, not evaluation, of film. The paper discusses Allen’s Zelig, Antonioni’s La Notte, Cameron’s The Terminator, Lucas’s Star Wars, Scorsese’s (...)
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  5. Film Evaluation and the Enjoyment of Dated Films.Robert R. Clewis - 2012 - Projections: The Journal for Movies and Mind 6 (2):42-63.
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  6. Consumerism, Aristotle and Fantastic Mr. Fox.Matt Duncan - 2015 - Film-Philosophy 19 (1):249-269.
    Wes Anderson's Fantastic Mr. Fox is about Mr. Fox's attempt to flourish as both a wild animal and a consumer. As such, this film raises some interesting and difficult questions about what it means to be a member of a certain kind, what is required to flourish as a member of that kind, and how consumerism either promotes or inhibits such flourishing. In this paper I use Fantastic Mr. Fox as an entry point into an examination of the relationship between (...)
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  7. BeDevil.Raymond Aaron Younis - 1995 - In Scott Murray (ed.), Australian Film 1978-1994. Oxford University Press.
  8. The Aesthetics of Actor-Character Race Matching in Film Fictions.Christy Mag Uidhir - 2012 - Philosophers' Imprint 12.
    Marguerite Clark as Topsy in Uncle Tom’s Cabin (1918). Charlton Heston as Ramon Miguel Vargas in Touch of Evil (1958). Mizuo Peck as Sacagawea in Night at the Museum (2006). From the early days of cinema to its classic-era through to the contemporary Hollywood age, the history of cinema is replete with films in which the racial (or ethnic) background of a principal character does not match the background of the actor or actress portraying that character. I call this actor-character (...)
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  9. Stoics on the Big Screen.John Sellars - 2003 - Philosophy Now 41:44-45.
    Stoic themes in Ridley Scott's Gladiator.
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