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  1. Microcinematography and the History of Science and Film.Hannah Landecker - 2006 - Isis 97 (1):121-132.
    The history of microcinematography is explored here as an example of the possible historiographical directions for work on science and film in the twentieth century. Topics discussed include investigations of the role of time in experiment, and the constant interplay between static and dynamic modes of imaging in scientific research; the role of films as depictions of both the objects of science and the process of scientific looking itself; and the possibility for telling a social history of science through investigation (...)
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The Art of Film
  1. 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.
  2. 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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  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. 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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  5. 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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  6. 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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  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. 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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  9. 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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  10. 导演 观众 粉丝(Director, Audience, Fans).Lingfei Luan - forthcoming - Beijing, China: China Social Science Press.
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  11. 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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  12. 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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  13. 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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  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. 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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  16. 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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  17. 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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  18. Daniel Herwitz (2008) Aesthetics.Daniel Barnett - 2009 - Film-Philosophy 13 (1):130-138.
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  19. 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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  20. Cinematic Art.Berys Gaut - 2002 - Journal of Aesthetics and Art Criticism 60 (4):299–312.
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  21. When is Film Art?Jesse Prinz - 2011 - Revue Internationale de Philosophie 258 (4):473-485.
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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. 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. Computer Art, Technology, and the Medium.Christopher Bartel - 2022 - Being and Value in Technology.
    Technological advancements often lead to revolutions in the creation of art; but, what is unclear is whether such advancements always correspond to revolutions regarding the artistic medium. The notion of an artistic medium is central to our thinking about, engagement with, and appreciation of art. Accounts of the interpretation, understanding, and experience of art must at some point grapple with the role of the artistic medium against such endeavors. Moreover, artists do not choose their medium by accident, but presumably do (...)
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  2. Remember the Medium! Film, Medium Specificity, and Response-Dependence.Clotilde Torregrossa - 2020 - Dissertation, University of St. Andrews
    Medium specificity is a theory, or rather a cluster of arguments, in aesthetics that rests on the idea that media are the physical material that makes up artworks, and that this material contains specific and unique features capable of 1) differentiating media from one another, and 2) determining the aesthetic potential and goals of each medium. As such, medium specificity is essential for aestheticians interested in matters of aesthetic ontology and value. However, as Noël Carroll has vehemently and convincingly argued, (...)
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  3. A Cinema for the Ears: Imagining the Audio-Cinematic Through Podcasting.Dario Llinares - 2020 - Film-Philosophy 24 (3):341-365.
    Podcasts have been described as “a cinema for the ears” and this application of a visual rhetoric to describe an audio-only experience results in an attempt to define what is still a relatively new medium. I argue that it is possible to consider something cinematic without the presence of moving images. Assertions in favour of the cinematic nature of podcasts often employ the visual imagination of listeners evoked by heightened audio characteristics that a particular podcast may possess. By focusing on (...)
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  4. Medium Specificity.Noël Carroll - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 29-47.
    This chapter critically explores the notion of medium specificity both in its classical form, as represented by figures such as Rudolf Arnheim and André Bazin, and in its current revised versions as proposed by philosophers such as Berys Gaut, Dominic Lopes, and Ted Nannicelli. The thesis of this entry is that the idea of medium specificity is flawed in all of its variations.
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  5. The Television Medium.Ted Nannicelli - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 949-970.
    This chapter offers a critical overview of philosophical debates concerning the nature of the television medium, television’s art status, and television’s aesthetic value.
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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. Film Art From the Analytic Perspective.Deborah Knight - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 357-379.
    This chapter examines the emergence of a distinctively analytic approach to film as art. I begin with an overview of Berys Gaut’s claim that the philosophy of film art is, roughly speaking, organized around three levels of analysis: the film medium; film narrative and aesthetics; and philosophical themes that emerge in films. Next I trace the emergence of an analytic philosophy of film as art in the work of Alexander Sesonske and Francis Sparshott. Sesonske and Sparshott each draw attention to (...)
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  8. Medium Specificity in Holocaust-Related Films.Lawrence Benaquist & Sander Lee - 2018 - Film and Philosophy 22:58-77.
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  9. Can Film Be A Philosophical Medium?David Davies - 2008 - Postgraduate Journal of Aesthetics 5 (2):1-20.
    A recent panel at the annual meetings of the American Society for Aesthetics had the title “Can films philosophize?” The answer is, obviously, no, if we take this question literally. But books can’t philosophize either, in this sense. People philosophize, and they generally use natural language as the medium in which they carry out this activity. So our question is, can film serve as a philosophical medium in the ways, or in some of the ways, that language does? To answer (...)
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  10. 导演 观众 粉丝(Director, Audience, Fans).Lingfei Luan - forthcoming - Beijing, China: China Social Science Press.
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  11. 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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  12. 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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  13. How Movies Do Philosophy.Wack Daniel - 2014 - Film and Philosophy 18:89-104.
  14. 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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  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. Image and Mind: Film, Philosophy and Cognitive Science.Gregory Currie - 1995 - Cambridge University Press.
    This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...)
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  17. 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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  18. Film, the Medium and the Maker.James F. Scott - 1975 - Holt Rinehart & Winston.
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  19. Some Philosophical Issues of Film Theory.Noel Edward Carroll - 1983 - Dissertation, University of Illinois at Chicago
    This thesis examines several major philosophical issues of film theory. These include debates about the specific nature of the film medium and of film art; debates about the nature of cinematic representation and expression; and about the nature of film fiction and film realism. I approach these issues through the work of three film theorists: Rudolf Arnheim, Andre Bazin and V. F. Perkins. ;The subject of Chapter One is Arnheim. Philosophical issues discussed include: Arnheim's commitment to Lessing-type arguments for medium (...)
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  20. How Movies Think: Cavell on Film as a Medium of Art.Richard Eldridge - 2014 - Estetika: The European Journal of Aesthetics 51 (1):3-20.
    Stanley Cavell’s writing about movies, from the more theoretical and general The World Viewed (1971) to the later works on specific genres (Pursuits of Happiness, Contesting Tears), has a unifying theme: some movies as (successful) art investigate conditions of accomplished selfhood and interest in experience in medium-specific ways. This claim is explained and defended by explicating the details of the medium-specificity of the moving photographic image (and its history of uses) and by focusing on Michael Verhoeven’s film The Nasty Girl (...)
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  21. 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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  22. Medium-Involving Explanations and the Philosophy of Film.Angela Curran - 2012 - British Journal of Aesthetics 52 (2):191-195.
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  23. Philosophy of the Film: Epistemology, Ontology, Aesthetics.Ian Charles Jarvie - 1987 - Routledge & Kegan Paul.
    Examines the overlap between film and philosophy in three distinct ways: epistemological issues in film-making and viewing; aesthetic theory and film; and film as a medium of philosophical expression. This title available in eBook format. Click here for more information . Visit our eBookstore at: www.ebookstore.tandf.co.uk.
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  24. Tactile Relief: Reconsidering Medium and Modality Specificity.Fay Zika - 2005 - British Journal of Aesthetics 45 (4):426-437.
    My aim is to show that dissatisfaction with the term ‘tactile pictures’ and the proposal for ‘a multisensory pictorial aesthetic’ introduced by Dominic Lopes is due to an ambiguity of ‘picture’ between visual and spatial representation in-volving more than one sense. In order to avoid this ambiguity, I propose another term in its place and I investigate some of the directions that a richer multimedia and multimodal aesthetic can take.
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Film and Morality
  1. 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.
  2. Disgust, Race and Ideology in Carl Franklin’s Devil in a Blue Dress.Dan Flory - 2022 - Film-Philosophy 26 (2):103-129.
    This article uses Carl Plantinga’s and Noël Carroll’s theorizations regarding cinematic disgust to analyze Carl Franklin’s 1995 film noir, Devil in a Blue Dress. Plantinga argues for a link between disgust and ideology that helps to reveal deeper cultural significance in film, which Carroll’s work likewise supports. Plantinga further argues that disgust in art may be strangely attractive as well as repulsive, thereby eliciting reflection. I argue that combining these elements with philosopher Kwame Anthony Appiah’s explanation of how moral revolutions (...)
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