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  1. Mortal Ethics: Reading Levinas with the Dardenne Brothers.Sarah Cooper - 2007 - Film-Philosophy 11 (2):56-87.
    Prior to the productive encounters that can be staged between Emmanuel Levinas’sthought and cinema at the level of reception, Jean-Pierre and Luc Dardenne introducehis philosophy to their filmmaking at its moment of inception.1Luc Dardenne’s diary Audos de nos images documents their filmmaking from 1991 to 2005, and isinterspersed with brief but erudite references to Levinas’s work. While Levinasianthinking is one among many cited influences in this text, which also features quotationsfrom the writings of novelists, poets, and other philosophers, along with (...)
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  • La promesse et l’intrigue.Marlène Zarader - 2008 - Cités 33 (1):83-96.
    C’est dans son œuvre tardive, à partir des années 1990, que Ricœur élabore le thème de la promesse. À la même époque, mais sur une autre scène, Luc et Jean-Pierre Dardenne ont, en moins de dix ans, réalisé quatre films à forte résonance éthique. Le premier de ces films – qui, à bien des égards,...
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  • Habermas in Pleasantville: Cinema as Political Critique.Robert Porter - 2007 - Contemporary Political Theory 6 (4):405-418.
    Does cinema express or engender political thought? Can we think of cinema, or certain specific cinematic texts, as bodies of political theory? In this paper I provide a positive response to such questions by arguing for a notion of, what I want to call, cinema as political critique. In order to make sense of this idea and render it more concrete, I will draw on fragments of the political theory of Jürgen Habermas and will discuss and give an analysis of (...)
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  • ‘Occupy Without Counting’: Furtive Urbanism in the Films of Jean-Pierre and Luc Dardenne.R. D. Crano - 2009 - Film-Philosophy 13 (1):1-15.
  • Non-Places Introduction to an Anthropology of Supermodernity.Marc Augâe - 1995