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  1.  29
    Identifying Documentary; Against the Trace Account.Shannon Brick - 2020 - Film and Philosophy 24:63-83.
    This article argues that we ought to reject Gregory Currie’s “Trace Account” of documentary film. According to the Trace Account, a film is a documentary so long the majority of its constitutive images are traces of the film’s subject matter. The argument proceeds by considering how proponents of the Trace Account could respond to Noel Carroll’s charge that their analysis is radically revisionary. I argue that the only responses available are either implausible or show that a fully worked out version (...)
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  2. Morals of Encounter in Steve Jobs.Kyle Barrowman - 2020 - Film and Philosophy 24:134-155.
    In this article, the author argues for the probative value of ordinary language philosophy for the discipline of film studies by way of an analysis of the conversational protocols discernible in the film Steve Jobs. In particular, the author focuses on the work of J.L. Austin, specifically his theory of speech acts and his formulation of the performative utterance, and Stanley Cavell, specifically his extension of Austinian speech act theory and his formulation of the passionate utterance, and analyzes the interactions (...)
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  3. Realism About Film and Realism in Films.Frank Boardman - 2020 - Film and Philosophy 24:43-62.
    Realism has a significant place in the history of film theory. The claim that film is essentially a realistic art form has been employed to justify the art-status of films as well as the distinctness of film as a form. André Bazin and others once used realist ontologies of film to try to establish realist teleologies and universal critical standards. I briefly sketch this history before considering the prospects for various versions of realism: Bazin’s, as well as Kendall Walton’s and (...)
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  4. CGI and Affective Responses to Narrative Films.Keith Dromm - 2020 - Film and Philosophy 24:156-174.
    Computer-generated imagery has transformed filmmaking. It has made it possible to film scenes that could not even be conceptualized without such technology. It has also made it easier to film many other types of scenes by relieving filmmakers of the need to reproduce entirely narrative elements at the profilmic level. For example, instead of performing dangerous stunts or creating expensive sets, filmmakers can create these elements digitally. This paper details how this advantage of CGI deprives filmmakers of a technique for (...)
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  5.  1
    Art and Integrity in The Fabulous Baker Boys.Joseph Kupfer - 2020 - Film and Philosophy 24:1-20.
    The title of the film by Steve Kloves refers to the dual-piano, languishing lounge act performed by two brothers. The resurgence and demise of the musical team is brought about by the addition of a sultry, female vocalist--Susie Diamond. Embedded within the story is an exploration of integrity and its augmentation by the virtues of courage and honesty. Integrity marks an individual whose self is a coherent, consistent whole. Important elements of the individual’s personality are mutually supportive rather than being (...)
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  6.  1
    Elia Kazan and the Hollywood Blacklist.Sander Lee - 2020 - Film and Philosophy 24:21-42.
    In April 1952, Elia Kazan appeared before HUAC and named names. Although he refused to do so in an earlier appearance, this time, having been warned that his film career was in jeopardy, he named many of his colleagues and friends. While he is far from the only one to turn informer, his case garners the most attention for a variety of reasons. In this essay, I examine Kazan’s justifications for his acts, acts that contributed to the destruction of the (...)
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  7. Drapers and Gardeners.Shawn Loht - 2020 - Film and Philosophy 24:98-119.
    This article examines Martin Heidegger's concept of conscience in Being and Time as it is manifested by the characters Don Draper from the television series Mad Men and Chauncey Gardiner in the film Being There. The article suggests that Draper hears and occasionally responds to what Heidegger terms the “call of conscience,” whereas Gardiner neither hears this call nor responds to it. Gardiner poses a problem case for Heidegger’s account of Dasein by virtue of failing to exhibit conscience. A question (...)
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  8. Real and Simulated Relationships in Spike Jonze’s Her.Jan Maximilian Robitzsch - 2020 - Film and Philosophy 24:120-133.
    This paper is dedicated to Spike Jonze’s 2013 movie Her and reads the film as an exploration of whether traditional human-human relationships could be replaced by relationships between a human being, on the one hand, and an intelligent machine or robot or – more precisely – operating system, on the other hand. It argues that the movie offers three different possible criteria for dismissing a relationship with an OS: that an OS does not have a body, that an OS is (...)
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  9.  1
    Sotto Voce: Inscription as Voiceover in Malick’s Days of Heaven.Fred Rush - 2020 - Film and Philosophy 24:84-97.
    Terrence Malick’s widespread use of voiceover is generally noted, as is its nonstandard bearing. Malick’s use of voiceover is non-standard in virtue of its loose narrative fit. That too is often marked. Much less discussed is the philosophical basis for Malick’s voiceover, more specifically its ontological function in bounding the filmworld with intentionality. This paper addresses such ontological questions. It first develops a general schema for voiceover and Malick’s use of it in several of his films. Malick’s discovery of the (...)
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  10. Editor’s Introduction.Daniel Shaw - 2020 - Film and Philosophy 24:2-4.
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