12 found
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  1.  31
    Through a (First) Contact Lens Darkly: Arrival, Unreal Time and Chthulucinema.David H. Fleming & William Brown - 2018 - Film-Philosophy 22 (3):340-363.
    Science fiction is often held up as a particularly philosophical genre. For, beyond actualising mind-experiment-like fantasies, science fiction films also commonly toy with speculative ideas, or else engineer encounters with the strange and unknown. Denis Villeneuve's Arrival is a contemporary science fiction film that does exactly this, by introducing Lovecraft-esque tentacular aliens whose arrival on Earth heralds in a novel, but ultimately paralysing, inhuman perspective on the nature of time and reality. This article shows how this cerebral film invites viewers (...)
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  2.  31
    Voiding Cinema: Subjectivity Beside Itself, or Unbecoming Cinema in Enter the Void.William Brown & David H. Fleming - 2015 - Film-Philosophy 19 (1):124-145.
    This essay examines Gaspar Noë's film, Enter the Void, in light of the work of both Gilles Deleuze and Alain Badiou. Arguing that the film shows to viewers the 'void' that separates subjects from objects, the essay also considers Noë's film in the light of drug literature and the altered states induced by cinema and describe by Anna Powell. Finally, the essay proposes that Enter the Void is a work of 'unbecoming' cinema, which in turn points to expansion of cinematic (...)
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  3.  45
    Alain Badiou (2013) Cinema and Alex Ling (2010) Badiou and Cinema.David H. Fleming - 2013 - Film-Philosophy 17 (1):467-479.
  4.  13
    Affective Teaching for Effective Learning: A Deleuzian Pedagogy for the (Corporate Era and) Chinese Context.David H. Fleming - 2014 - Educational Philosophy and Theory 46 (10):1-14.
    In this article I explore the pedagogical value of Gilles Deleuze and Félix Guattari’s philosophical concepts for helping make an ‘event’ of thought, with a view towards fostering deep learning in Chinese students' learning theory and criticism in a second language. Paying attention to the qualitative role of bodies, humour and creativity alongside an expanded trans-personal concept of ‘educational life forms’ that stretches out to include an affective assemblage of inhuman elements, I explore how Deleuze and Guattari’s philosophical models provide (...)
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  5.  23
    Charcoal Matter with Memory: Images of Movement, Time and Duration in the Animated Films of William Kentridge.David H. Fleming - 2013 - Film-Philosophy 17 (1):402-423.
    In his temporal philosophy based on the writing of Henri Bergson, Gilles Deleuze describes duration ( durée ) as a becoming that endures in time. Reifications of this complex philosophical concept become artistically expressed, I argue, in the form and content of South African artist William Kentridge's series of 'charcoal drawings for projection.' These exhibited art works provide intriguing and illuminating 'philosophical' examples of animated audio-visual media, which expressively plicate distinct images of movement and time. The composition of Kentridge's films (...)
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  6.  95
    Deterritorialisation and Schizoanalysis in David Fincher's Fight Club.David H. Fleming & William Brown - 2011 - Deleuze and Guatarri Studies 5 (2):275-299.
    Taking a schizoanalytic approach to audio-visual images, this article explores some of the radical potentia for deterritorialisation found within David Fincher's Fight Club (1999). The film's potential for deterritorialisation is initially located in an exploration of the film's form and content, which appear designed to interrogate and transcend a series of false binaries between mind and body, inside and outside, male and female. Paying attention to the construction of photorealistic digital spaces and composited images, we examine the actual (and possible) (...)
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  7.  13
    Deleuze, the ‘Neo-Realist’ Break and the Emergence of Chinese Any-Now-Spaces.David H. Fleming - 2014 - Deleuze and Guatarri Studies 8 (4):509-541.
    By creatively expanding Deleuze's concept of the time-image crystal, I productively fold together and engineer an encounter between two comparable cinematic movements otherwise separated by huge vistas of time and space. Here, I work to plicate the post-war Italian neorealist movement which Deleuze saw inaugurating the modern cinema, with a ‘postsocialist’ mainland Chinese movement that I playfully call ‘neo-realism’. The films of both historical moments formulate comparable break-away cinemas which are often considered moral or socially responsible art cinemas best approached (...)
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  8.  37
    Homay King (2010) Lost in Translation: Orientalism, Cinema, and the Enigmatic Signifier.David H. Fleming - 2012 - Film-Philosophy 16 (1):251-255.
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  9.  5
    Richard Eldridge (2019) Werner Herzog: Filmmaker as Philosopher.David H. Fleming - 2019 - Film-Philosophy 23 (3):403-406.
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  10.  7
    Unethical Morality in "Documenting" Terrorism: Terror at the Mall, Nowhere to Run, Wolves of Westgate.David H. Fleming - 2016 - Substance 45 (3):66-83.
    The enemy must fear us. When this is over, there will be much more fear in the world. […] Give the government an ultimatum. Say, “This was just the trailer. Just wait till you see the rest of the film.”The overhanging statement – which draws attention to troubling links interconnecting action cinema and acts of terrorism – is delivered towards the end of Dan Reed’s Terror in Mumbai, an insightful documentary that unfolds a balanced enquiry into the November 2008 massacre (...)
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  11.  5
    Victor Fan (2015) Cinema Approaching Reality: Locating Chinese Film Theory.David H. Fleming - 2017 - Film-Philosophy 21 (1):146-151.
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  12. Metaphoricity in the Real Estate Showroom: Affordance Spaces for Sensorimotor Shopping.Simon Harrison & David H. Fleming - 2019 - Metaphor and Symbol 34 (1):45-60.
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