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  1. Genre, Gender, Giallo: The Disturbed Dreams of Dario Argento.Colette Jane Balmain - unknown
    This thesis presents an examination of the giallo films of Dario Argento from his directorial debut The Bird with the Crystal Plumage to The Stendhal Syndrome'. In opposition to the dominant psychoanalytical approaches to the horror film generally and Argento's giallo specifically, this thesis argues that the giallo, both textually and meta-textually, actively resists oedipalisation. Taking up from Deleuze's contention in Cinema 1: The Movement Image that the cinematic-image can be consider the equivalent to a philosophical concept, I suggest that (...)
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  • Showtime: The Phenomenology of Film Consciousness.Spencer Shaw - 2002 - Dissertation, University of Warwick
    The thesis argues that the notion of film consciousness deepens a wide-range of philosophical issues in ways which are only accessible through film experience. These issues, directly related to the continental tradition, deal with consciousness, experience, intentionally and meaning. We look to the implications of the initial acts of film reproduction as it creates 'images' of the world which reconceptualise vision in terms of space, time and dimension. We move from ontology to experience and examine an aesthetic form with radical (...)
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  • Between Image and Thought: An Approach to Gilles Deleuze's Thought.Juan David Cárdenas - 2011 - Universitas Philosophica 28 (57):241-262.
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  • El escultor del tiempo: claves de la “filosofía cinematográfica” de Gilles Deleuze.Javier Ruiz Moscardó - 2018 - Estudios de Filosofía 58:119-142.
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  • Beyond Ontology: Levinas and the Ethical Frame in Film.Sam B. Girgus - 2007 - Film-Philosophy 11 (2):88-107.
    From its beginning, film set forth a new scene for ethical and moral engagement. Formore than a century, film’s frame and image have opened fresh space for enactingethical and moral conflicts and dilemmas. To scholars and critics such as André Bazin, itbecame apparent that in film matters of aesthetics influence ethical and moral questions. As Dudley Andrew says: ‘In cinema, aesthetic issues leadimmediately to moral ones’ .Today, the connection between aesthetic and ethical issues in film acquires newmeaning from the relationship (...)
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  • Charcoal Matter with Memory: Images of Movement, Time and Duration in the Animated Films of William Kentridge.David H. Fleming - 2013 - Film-Philosophy 17 (1):402-423.
    In his temporal philosophy based on the writing of Henri Bergson, Gilles Deleuze describes duration ( durée ) as a becoming that endures in time. Reifications of this complex philosophical concept become artistically expressed, I argue, in the form and content of South African artist William Kentridge's series of 'charcoal drawings for projection.' These exhibited art works provide intriguing and illuminating 'philosophical' examples of animated audio-visual media, which expressively plicate distinct images of movement and time. The composition of Kentridge's films (...)
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  • John Mullarkey (2009) Refractions of Reality: Philosophy and the Moving Image.Joshua Conrad Hilst - 2010 - Film-Philosophy 14 (2):153-160.
  • 'Contemplating a Self-Portrait as a Pharmacist': A Trade Mark Style of Doing Art and Science.Celia Lury - 2005 - Theory, Culture and Society 22 (1):93-110.
    This article addresses how it is possible to view Damien Hirst as a brand name. It argues that the brand name is not the mark of an originary relation between producer and product but of a set of highly mediated relations between products. In a discussion of the spot paintings, the process of mediation is seen to contribute to the open-endedness of the relations between products or works established in Hirst’s practice. This open-endedness contributes to the distinctiveness of the Hirst (...)
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  • A Queer Aesthetic: Identity in Kurosawa Kiyoshi's Horror Films.Seán Hudson - 2018 - Film-Philosophy 22 (3):448-464.
    Judith Butler argues that every category of personal identity, such as gender, the body, nationality, sexuality, or ethnicity, is predicated in part on a crisis between what that identity affirms and what it excludes. How this crisis manifests itself in everyday life is key to understanding how identities are reinforced, negotiated, subverted, or rejected on both social and individual levels. In this paper I consider three films directed by Kurosawa Kiyoshi between 2001 and 2006, arguing that they are especially competent (...)
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  • Love's Old Song Will Be New: Deleuze, Busby Berkeley and Becoming-Music.Steven Pustay - 2015 - Film-Philosophy 19 (1):172-189.
    This article argues that Busby Berkeley’s unique musical spectacles invert the cinematic taxonomy found in Deleuze’s twin volumes on Cinema through the process of ‘becoming-music.’ By taking up a form that I term ‘visual-music,’ in which musical properties are incorporated within the image, Berkeley’s work problematizes Deleuze’s philosophy of cinematic sound and benefits instead from the conceptions of the musical refrain and rhythm located in Deleuze and Guattari’s A Thousand Plateaus. Breaking away from traditional Deleuzian readings of cinema, I demonstrate, (...)
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  • Islam, Consciousness and Early Cinema: Said Nursî and the Cinema of God.Canan Balan - 2016 - Film-Philosophy 20 (1):47-62.
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