24 found

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  1.  3
    Ilona Hongisto Soul of the Documentary: Framing, Expression, Ethics.Laurel Ahnert - 2018 - Film-Philosophy 22 (2):313-316.
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  2.  1
    Lee Carruthers Doing Time: Temporality, Hermeneutics and Contemporary Cinema.Kyler Chittick - 2018 - Film-Philosophy 22 (2):306-308.
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  3.  2
    Surfaces of Science Fiction: Enacting Gender and “Humanness” in Ex Machina.Catherine Constable - 2018 - Film-Philosophy 22 (2):281-301.
    This article explores two different conceptions of the postmodern surface and their take up in relation to mainstream science fiction cinema. Each offers a rather different genealogy for considering the surfaces of the science fiction film. The first traces Frederic Jameson's conception of postmodern superficiality and its dual role as a mode of reading texts and an aesthetic paradigm. The second traces Judith Butler's conception of gender performativity, its application to technology, and the expansion of performativity as a key mechanism (...)
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  4.  2
    Introduction: The Surfaces of Film-Philosophy.Catherine Constable, Matt Denny & Timotheus Vermeulen - 2018 - Film-Philosophy 22 (2):143-147.
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  5. Deconstructing Depth: Proximity and Contemplation in Déjà Vu.Matt Denny - 2018 - Film-Philosophy 22 (2):240-260.
    This article interrogates the persistence of critical frameworks informed by depth-models of hermeneutics, and the repercussions the equation of “depth” with meaningfulness has for the appreciation of the “shallow” aesthetics of post-classical action cinema. Oppositions such as depth/surface, body/mind, and proximity/distance associated with a hermeneutics of depth are not neutral, but rather exist in a “violent hierarchy”. This ensures that works or styles that foreground surface are automatically deemed to be meaningless. One influential example of this logic is Fredric Jameson's (...)
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  6.  1
    Surface Contact: Film Design as an Exchange of Meaning.Lucy Fife Donaldson - 2018 - Film-Philosophy 22 (2):203-221.
    Surface has become an important consideration of sensory film theory, conceived of in various forms: the screen itself as less a barrier than a permeable skin, the site of a meaningful interaction between film and audience; the image as a surface to be experienced haptically, the eye functioning as a hand that brushes across and engages with the field of vision; surfaces within the film, be they organic or fabricated, presenting a tactile appeal. Surface evokes contact and touch, the look (...)
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  7. Lights, Camera, Lumino-Politics: Lighting The Searchers, From Paraffin to LED.Pansy Duncan - 2018 - Film-Philosophy 22 (2):184-202.
    Across the past decade or so, “politically committed” strains of film studies have undergone a much-vaunted aesthetic turn. It is now widely acknowledged that political struggle is as likely to converge in and around the tangible, audible and/or visible surface of the filmic image as it is to involve forces operating “within,” “beyond” or “behind” that surface. Yet while this so-called aesthetic turn has restored questions of film sound, film form and film colour to the film-political agenda, questions of film (...)
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  8.  1
    Interpretation, Irony and “Surface Meanings” in Film.James MacDowell - 2018 - Film-Philosophy 22 (2):261-280.
    In theories of interpretation, the artwork's “surface” is frequently cast as something to be looked past in our quest for meaning. As such, the “surface” has also understandably been the focus of several polemics against the excesses of interpretive criticism – in film scholarship and beyond. This article explores what role concepts of the “surface” and “surface meaning” might fruitfully play in the interpretation of fiction films by thinking about a particular kind of expression-by-implication available to the medium: irony. An (...)
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  9.  1
    Shaun May A Philosophy of Comedy on Stage and Screen: You Have to Be There.Cameron Moneo - 2018 - Film-Philosophy 22 (2):309-312.
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  10. Layered Encounters: Mainstream Cinema and the Disaggregate Digital Composite.Lisa Purse - 2018 - Film-Philosophy 22 (2):148-167.
    The digital surface in cinema has, throughout its relatively brief history, been subject to a familiar “iconophobic” tendency, documented by Rosalind Galt, to denigrate surface decoration as “empty spectacle”. In early scholarship on computer generated images in cinema, the digital surface's alleged seamlessness and “new depthlessness” frequently became an overdetermined nexus of loss: of material presence, of an indexical relation to the world and lived experience, and of the continuation of older traditions of narrative cinema. Today, digital visual effects sequences (...)
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  11.  1
    Nathan Andersen Shadow Philosophy: Plato's Cave and Cinema.Chiara Quaranta - 2018 - Film-Philosophy 22 (2):317-320.
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  12. Saige Walton Cinema's Baroque Flesh: Film, Phenomenology and the Art of Entanglement.Mareike Sera - 2018 - Film-Philosophy 22 (2):302-305.
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  13.  1
    Flat Film: Strategies of Depthlessness in Pleasantville and La Haine.Timotheus Vermeulen - 2018 - Film-Philosophy 22 (2):168-183.
    In this essay I consider the device of depthlessness in film. I am interested in particular in the ways in which this device can determine, or at least raise questions about, the nature of the fictional world. Taking my cue from two films from the turn of the century – Gary Ross' 1998 film Pleasantville and Matthieu Kassovitz' 1995 La Haine – as well as, more broadly, arts historical and cultural theoretical debates, where rather more attention has been devoted to (...)
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  14. On the Depths of Surface: Strategies of Surface Aesthetics in The Bling Ring, Spring Breakers and Drive.Maryn Wilkinson - 2018 - Film-Philosophy 22 (2):222-239.
    The films The Bling Ring, Spring Breakers, and Drive, were all dismissed for their depthlessness. This article argues that we need to explore the depths and variety of their engagement with surface in order to fully appreciate what these films are trying to say. The article proposes that these films in fact employ three different “strategies” of surface engagement, in and through their aesthetics; The Bling Ring relies on a sense of “skimming”, Spring Breakers engages ideas of “drifting”, while Drive (...)
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  15.  2
    Ilona Hongisto Soul of the Documentary: Framing, Expression, Ethics.Laurel Ahnert - 2018 - Film-Philosophy 22 (1):138-141.
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  16.  3
    Lee Carruthers Doing Time: Temporality, Hermeneutics and Contemporary Cinema.Kyler Chittick - 2018 - Film-Philosophy 22 (1):130-133.
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  17.  8
    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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  18.  3
    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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  19.  6
    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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  20.  6
    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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  21.  8
    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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  22.  3
    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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  23.  1
    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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  24.  5
    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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