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Carl Plantinga [21]Carl R. Plantinga [3]Carl Rendit Plantinga [1]
  1. What a documentary is, after all.Carl Plantinga - 2005 - Journal of Aesthetics and Art Criticism 63 (2):105–117.
    Carl Plantinga; What a Documentary Is, After All, The Journal of Aesthetics and Art Criticism, Volume 63, Issue 2, 15 April 2005, Pages 105–117, https://doi.org.
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  2.  89
    The Routledge Companion to Philosophy and Film.Paisley Livingston & Carl R. Plantinga (eds.) - 2008 - New York: Routledge.
    _The Routledge Companion to Philosophy and Film_ is the first comprehensive volume to explore the main themes, topics, thinkers and issues in philosophy and film. The _Companion_ features sixty specially commissioned chapters from international scholars and is divided into four clear parts: • issues and concepts • authors and trends • genres • film as philosophy. Part one is a comprehensive section examining key concepts, including chapters on acting, censorship, character, depiction, ethics, genre, interpretation, narrative, reception and spectatorship and style. (...)
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  3.  30
    Film and Phenomenology: Toward a Realist Theory of Cinematic Representation.Carl Plantinga - 1993 - Journal of Aesthetics and Art Criticism 51 (3):511-513.
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  4. . Notes on Spectator Emotion and Ideological Film Criticism.Carl Plantinga - 1997 - In Richard Allen & Murray Smith (eds.), Film theory and philosophy. New York: Oxford University Press. pp. 327--393.
    This chapter focuses on an explanation of the neglect of investigating and understanding emotional response to films. It argues that the kind of emotional experience a film offers is a proper target of ideological investigation. This chapter aims to suggest how emotions should be understood in ideological criticism. There is characterization of spectator emotion with a view toward conceptual clarification. This chapter examines two families of screen emotions: sentiment and sentimentality, and the emotions which accompany screen violence. Drawing on work (...)
     
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  5.  39
    Film theory and aesthetics: Notes on a schism.Carl Plantinga - 1993 - Journal of Aesthetics and Art Criticism 51 (3):445-454.
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  6.  74
    “I Followed the Rules, and They All Loved You More”: Moral Judgment and Attitudes toward Fictional Characters in Film.Carl Plantinga - 2010 - Midwest Studies in Philosophy 34 (1):34-51.
  7. Moving pictures and the rhetoric of nonfiction: two approaches.Carl Plantinga - 1996 - In David Bordwell Noel Carroll (ed.), Post-Theory: Reconstructing Film Studies. University of Wisconsin Press. pp. 308--324.
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  8.  50
    Cognitive Theory of the Moving Image.Carl Plantinga - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 381-408.
    This chapter provides an overview of cognitive theory of the moving image, considering it as an approach rather than a methodology. It traces the history and institutional affiliations of cognitive theory, then focuses on the kinds of experiences the moving image media afford viewers, and the design elements that foster those experiences. It distinguishes between “cold” and “hot” cognition and discusses the sense in which cognitive theory can be said to be naturalistic. The chapter goes on to discuss narrative comprehension, (...)
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  9.  31
    Halsall, Francis, Jansen, Julia & O'Connor, Tony.Noel Carroll, Lester H. Hunt, Richard Eldridge, Carl Plantinga, Stephen Prickett, Benami Scharfstein, Terry Smith, Okwui Enwezor & Nancy Condee - 2009 - British Journal of Aesthetics 49 (3):315.
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  10.  45
    A Naive Reply to MacLennan and Raskin.Carl R. Plantinga - 1998 - Film-Philosophy 2 (1).
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  11.  8
    Blurry boundaries, troubling typologies, and the unruly nonfiction film.Carl Plantinga - 1994 - Semiotica 98 (3-4):387-396.
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  12.  6
    Barbara Foley, Telling The Truth: The Theory and Practice of Documentary Fiction.Carl Plantinga - 1987 - Journal of Aesthetics and Art Criticism 45 (3):316-317.
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  13. Documentary.Carl Plantinga - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. New York: Routledge.
     
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  14. Emotion and affect.Carl Plantinga - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. New York: Routledge.
     
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  15.  80
    Eternal Sunshine of the Spotless Mind edited by grau, christopher.Carl Plantinga - 2010 - Journal of Aesthetics and Art Criticism 68 (4):418-420.
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  16.  10
    Frame Shifters.Carl Plantinga - 2009 - In Noël Carroll & Lester H. Hunt (eds.), Philosophy in the Twilight Zone. Malden, MA: Wiley-Blackwell. pp. 39–57.
    This chapter contains sections titled: Narrative, Cognition, and Emotion Open and Closed Endings Surprise Endings Types of Surprise Endings Narrative and Critical Thinking Frame Shifters Notes.
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  17.  4
    Moving pictures.Carl Plantinga - 2016 - Forum for European Philosophy Blog.
    Carl Plantinga explores how new approaches to cognition are changing how we understand film.
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  18. Rethinking affects, narration, fantasy, and realism. Rethinking affects, narration, fantasy, and realism. Trauma, pleasure, and emotion in the viewing of titanic: A cognitive approach.Carl Plantinga - 2009 - In Warren Buckland (ed.), Film theory and contemporary Hollywood movies. New York: Routledge.
  19. Rethinking affects, narration, fantasy, and realism. Trauma, pleasure, and emotion in the viewing of Titanic: a cognitive approach.Carl Plantinga - 2009 - In Warren Buckland (ed.), Film theory and contemporary Hollywood movies. New York: Routledge.
  20. Spectatorship.Carl Plantinga - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. New York: Routledge.
     
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  21.  14
    Screen Stories and Moral Understanding: Interdisciplinary Perspectives.Carl Plantinga (ed.) - 2023 - New York, New York: Oxford University Press. Translated by None None.
    The stories we tell and show, in whatever medium, play varied roles in human cultures. One such role is to contribute to moral understanding. Moral understanding goes beyond moral knowledge; it is a complex cognitive achievement that may consist of one or more of the following: the ability to understand why, to ask the right questions, categorization, the application of models to specific incidents, or the capacity to make connections between morally charged situations that have a common underlying meaning. -/- (...)
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  22.  9
    Screen stories: emotion and the ethics of engagement.Carl R. Plantinga - 2018 - New York, NY: Oxford University Press.
    The way we communicate with each other is vital to preserving the cultural ecology, or wellbeing, of a place and time. Do we listen to each other? Do we ask the right questions? Do we speak about each other with respect or disdain? The stories that we convey on screens, or what author Carl Plantinga calls 'screen stories,' are one powerful and pervasive means by which we communicate with each other. Screen Stories: Emotion and the Ethics of Engagement argues that (...)
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  23.  6
    William Paul, Laughing Screaming: Modern Hollywood Horror and Comedy.Carl Plantinga - 1995 - Journal of Aesthetics and Art Criticism 53 (3):332-334.
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  24.  20
    Review of Berys Gaut, A Philosophy of Cinematic Art[REVIEW]Carl Plantinga - 2010 - Notre Dame Philosophical Reviews 2010 (7).