10 found

Year:

  1. Ilona Hongisto Soul of the Documentary: Framing, Expression, Ethics.Laurel Ahnert - 2018 - Film-Philosophy 22 (1):138-141.
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  2.  2
    Lee Carruthers Doing Time: Temporality, Hermeneutics and Contemporary Cinema.Kyler Chittick - 2018 - Film-Philosophy 22 (1):130-133.
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  3.  5
    To See or Not to See: A Wittgensteinian Look at Abbas Kiarostami's Close-Up.Elizabeth Hope Finnegan - 2018 - Film-Philosophy 22 (1):21-38.
    Ludwig Wittgenstein's notion of aspect-seeing, and Stanley Cavell's notion of aspect-blindness, allow us to situate Abbas Kiarostami's quasi-documentary Close-Up as a radical revision of the genre that fundamentally challenges our assumptions about truth and representation in documentary film. Considering the film through the lens of Wittgenstein's and Cavell's philosophies of seeing puts pressure on the ethical dimension of the process of seeing as it is both enacted by and represented in the film. Kiarostami brings to the foreground the intransigent aspects (...)
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  4. Deep Truth and the Mythic Veil: Werner Herzog's New Mythology in Land of Silence and Darkness.André Fischer - 2018 - Film-Philosophy 22 (1):39-59.
    This article begins with Werner Herzog's programmatic statements on new images and deep truth and connects it to ideas of Nietzschean aesthetics, mainly the Apollonian image and the Dionysian horror. My main argument is that Herzog contributes to the literary and aesthetic tradition of new mythology within the medium of film by developing a distinct visual language that tries to express non-rational truth claims. In a first step I explore how Nietzschean aesthetics influenced the debates about the mythic image and (...)
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  5.  2
    The Art of Attention in Documentary Film and Werner Herzog.Antony Fredriksson - 2018 - Film-Philosophy 22 (1):60-75.
    In this article I examine the role of attention as a defining aspect of photography and documentary film. When we pay attention to how the world looks it might sometimes surprise us. It might perhaps show us that we are too set in our ways of seeing and that the world can reveal things unknown, or as Stanley Cavell remarks: “how little we know about what our relation to reality is, our complicity in it”. This is, I claim, the task (...)
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  6.  2
    Deleuze, Žižek, Spring Breakers and the Question of Ethics in Late Capitalism.Jenny Gunn - 2018 - Film-Philosophy 22 (1):95-113.
    This article examines Harmony Korine's 2012 film, Spring Breakers. Arguing that Korine's film explores the bankruptcy of ethics in advanced capitalism, the article considers two predominate and contrasting theories of contemporary subjectivity: Slavoj Žižek's psychoanalytically-inspired conception of the subject as radical lack and Deleuze's affirmation of the subject through attention to affect and the virtual. In reference to Kant's radical reformulation of the moral law as an empty and tautological form with the concept of the categorical imperative, this article shows (...)
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  7.  1
    The Creaturely Life of Carol Reed's Cities: Eric Santner and Walter Benjamin.John Charles Hill - 2018 - Film-Philosophy 22 (1):114-129.
    In the years following the end of the Second World War Carol Reed directed three films, Odd Man Out, The Third Man, and The Man Between, that all dealt with individuals somehow cast alone into post-war urban environments that shared certain characteristics of division and violence. This article argues that they can be usefully analysed through the lens of Walter Benjamin's notion of the creaturely, especially through Eric Santner's explication of the concept. It considers the films from three aspects of (...)
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  8.  2
    Small Talk and the Cinema: Conversation, Philosophy and the Case of Sullivan's Travels.Cooper Long - 2018 - Film-Philosophy 22 (1):76-94.
    This article seeks to bring small talk about cinema – the type of conversation that can begin with the question “Have you seen any good movies lately?” – into the analytical ambit of cinema and media studies. In order to do so, I argue that such conversation is relevant to the philosophical project of Stanley Cavell. Throughout his attempts to wed film analysis and philosophical reflection, including his seminal studies of Hollywood genres, Cavell has remained committed to the idea that (...)
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  9. Shaun May A Philosophy of Comedy on Stage and Screen: You Have to Be There.Cameron Moneo - 2018 - Film-Philosophy 22 (1):134-137.
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  10.  2
    The Sensation of the Look: The Gazes in Laurence Anyways.Corey Kai Nelson Schultz - 2018 - Film-Philosophy 22 (1):1-20.
    This article analyses the gazes, looks, stares and glares in Laurence Anyways, and examines their affective, interpretive, and symbolic qualities, and their potential to create viewer empathy through affect. The cinematic gaze can produce sensations of shame and fear, by offering a sequence of varied “encounters” to which viewers can react, before we have been given a character onto which we can deflect them, thus bypassing the representational, narrative and even the sympathetic power of the medium to create “raw”, apparently (...)
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