Year:

  1.  3
    A Miraculous Materialism: Lines of Flight in We Have a Pope and Corpo Celeste.Silvia Angeli & Francesco Sticchi - 2021 - Film-Philosophy 25 (1):1-17.
    This article considers Nanni Moretti's We Have a Pope and Alice Rohrwacher's Corpo Celeste via the notion of lines of flight as developed by Gilles Deleuze and Félix Guattari. We argue that, in spite of stylistic and thematic differences, the two films present clear similarities since they highlight and address conflicts and tensions existing within the contemporary Catholic religious order. Both films present cracks and horizons of becoming within the institutionalised Catholic Church, tracing possible paths of transformation for viewers aligning (...)
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  2.  3
    Trembling Meaning: Camera Instability and Gilbert Simondon's Transduction in Czech Archival Film.Jiří Anger - 2021 - Film-Philosophy 25 (1):18-41.
    Many experimental found footage films base their meanings and effects on an interaction between the figurative content of the image and its material-technological underpinnings. Can this interaction arise accidentally without artistic appropriation? A recently digitised film by the Czech cinema pioneer Jan Kříženecký, Opening Ceremony of the Čech Bridge, presents such an exercise in accidental aesthetics. At one point, the horizontal and vertical trembling of the cinematograph – obtained from the Lumière brothers – translates into a trembling of the figures (...)
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  3.  4
    Francesco Sticchi (2019) Melancholy Emotion in Contemporary Cinema: A Spinozian Analysis of Film Experience.Claudio Celis Bueno - 2021 - Film-Philosophy 25 (1):70-73.
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  4.  2
    David Martin-Jones (2018) Cinema Against Doublethink: Ethical Encounters with the Lost Pasts of World History.Simon Dickson - 2021 - Film-Philosophy 25 (1):74-78.
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  5.  3
    André Bazin's Eternal Returns: An Ontological Revision.Jeff Fort - 2021 - Film-Philosophy 25 (1):42-61.
    The recent publication of André Bazin's Écrits complets, an enormous two-volume edition of 3000 pages which increases ten-fold Bazin's available corpus, provides opportunities for renewed reflection on, and possibly for substantial revisions of, this key figure in film theory. On the basis of several essays, I propose a drastic rereading of Bazin's most explicitly philosophical notion of “ontology.” This all too familiar notion, long settled into a rather dust-laden couple nonetheless retains its fascination. Rather than attempting to provide a systematic (...)
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  6.  4
    Murray Smith (2017) Film, Art, and the Third Culture: A Naturalized Aesthetics of Film.Will Kitchen - 2021 - Film-Philosophy 25 (1):83-86.
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  7.  3
    Laura McMahon (2019) Animal Worlds: Film, Philosophy and Time.Savina Petkova - 2021 - Film-Philosophy 25 (1):79-82.
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  8.  3
    Bernd Herzogenrath (Ed.) (2017) Film as Philosophy.Christa van Raalte - 2021 - Film-Philosophy 25 (1):66-69.
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  9.  2
    Kate Ince (2017) The Body and the Screen: Female Subjectivities in Contemporary Women's Cinema.Laura Staab - 2021 - Film-Philosophy 25 (1):62-65.
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