Year:

  1.  2
    Mendacity, Rule Consequentialist Ethics and The Ploughman's Lunch.Jonathan Bolton - 2022 - Film-Philosophy 26 (1):26-43.
    This article examines Ian McEwan's script for director Richard Eyre's film, The Ploughman's Lunch, the title of which alludes to a deceptive, post-World War II advertising campaign that promulgated a false narrative about British tradition. McEwan's script, and Eyre's film adaptation of it, offer a prescient exposé of Britain's culture of mendacity in the 1980s in ways that draw on rule-consequentialist ethics to maintain that lying on the personal, professional, and political level has a pernicious effect on society. McEwan's work (...)
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  2.  5
    Eliza Steinbock (2019) Shimmering Images: Trans Cinema, Embodiment, and the Aesthetic of Change.William Brown - 2022 - Film-Philosophy 26 (1):94-97.
  3.  3
    Hunter Vaughan (2019) Hollywood's Dirtiest Secret: The Hidden Environmental Costs of the Movies.Georgie Carr - 2022 - Film-Philosophy 26 (1):90-93.
  4.  7
    Time Metaphors in Film: Understanding the Representation of Time in Cinema.Silvana Dunat - 2022 - Film-Philosophy 26 (1):1-25.
    According to conceptual metaphor theory, there are two basic metaphorical models for conceptualising time in terms of space: the ego-moving model maps our movement through space onto our imagined movement through time, while the time-moving model represents time as an entity moving through spatial locations, the ego being just a passive observer. The aim of this article is to investigate how time is conceptualized in film where ego, movement, time and space also play basic roles. I compare the two linguistic (...)
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  5.  1
    Transferring Suspiria: Historicism and Philosophies of Psychoanalytic Transference.Alexander Howard & Julian Murphet - 2022 - Film-Philosophy 26 (1):63-85.
    Luca Guadagnino's Suspiria aggressively foregrounds a term from the discourse of psychoanalysis, now a relic of twentieth-century philosophical and psychological thought, with which to negot...
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  6.  3
    Two Cats, One Fish: The Animal, Leviathan and the Limits of Theory.Aldo Kempen - 2022 - Film-Philosophy 26 (1):44-62.
    Animals populate our artistic and philosophical discourses in critical ways. From Jacques Derrida's or Karen Barad's cat, to Donna Haraway's dog, to the fish in Lucien Castaing-Taylor and Véréna Paravel's Leviathan, these animals feature heavily in discussions regarding limits – the limits of the human and thus its relation with non-humans, but also the limits of knowledge itself. Cute or dangerous, real or fantasised, dead or alive: in this article, I juxtapose the various ways that such animals confront us with (...)
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  7.  7
    Rebecca A. Sheehan (2020) American Avant-Garde Cinema's Philosophy of the In-Between.Giulia Rho - 2022 - Film-Philosophy 26 (1):98-101.
  8. Rupert Read (2019) A Film-Philosophy of Ecology and Enlightenment.Rong Wan - 2022 - Film-Philosophy 26 (1):86-89.
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