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  1.  11
    Trolls, Tigers and Transmodern Ecological Encounters: Enrique Dussel and a Cine-Ethics for the Anthropocene.David Martin-Jones - 2016 - Film-Philosophy 20 (1):63-103.
    This article explores the usefulness of Latin American philosopher Enrique Dussel's work for film-philosophy, as the field increasingly engages with a world of cinemas. The piece concludes with an analysis of two films with an ecological focus, Trolljegeren/Troll Hunter and The Hunter. They are indicative of a much broader emerging trend in ecocinema that explores the interaction between humanity and the environment in relation to world history, and which does so by staging encounters between people and those ‘nonhuman’ aspects of (...)
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  2.  13
    Deleuze and World Cinemas.David Martin-Jones - 2011 - Continuum International Publishing Group.
    Introduction : deterritorializing Deleuze -- Spectacle I : attraction-image -- History : Deleuze after dictatorship -- Space : geopolitics and the action-image -- Spectacle II : Masala-image -- Conclusion : the continuing adventures of Deleuze and world cinemas.
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  3.  10
    Introduction: Film-Philosophy and a World of Cinemas.David Martin-Jones - 2016 - Film-Philosophy 20 (1):6-23.
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  4.  37
    What is Film-Philosophy? Round Table.David Martin-Jones - 2010 - Film-Philosophy 14 (1):81 mins.
    Held on Monday 12th October 2009, 5.30 - 7.00 pm, University of St Andrews, Scotland. Participants Dr Robert Sinnerbrink (Philosophy, Macquarie University, Sydney, Australia) Dr John Mullarkey (Philosophy, University of Dundee) Professor Berys Gaut (Philosophy, University of St Andrews) Dr David Martin-Jones (Film Studies, University of St Andrews) Dr William Brown (Film Studies, University of St Andrews)Over the course of at least the last hundred years the intellectual study of cinema has experienced a number of shifts towards and away from (...)
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  5.  54
    Towards Another '–Image': Deleuze, Narrative Time and Popular Indian Cinema.David Martin-Jones - 2008 - Deleuze and Guatarri Studies 2 (1):25-48.
    Popular Indian cinema provides a test case for examining the limitations of Gilles Deleuze's categories of movement-image and time-image. Due to the context-specific aesthetic and cultural traditions that inform popular Indian cinema, although it appears at times to be both movement- and time-image, it actually creates a different type of image. Analysis of Toofani Tarzan (1936) and Dilwale Dulhania Le Jayenge (1995) demonstrates how, alternating between a movement of world typical of the time-image, and a sensory-motor movement of character typical (...)
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  6.  19
    Invaginating Antonioni.David Martin-Jones - 1999 - Film-Philosophy 3 (1).
    Peter Brunette _The Films of Michelangelo Antonioni_ Cambridge: Cambridge University Press, 1998 ISBN 0-521-38992-5 186 pp.
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  7.  8
    A Site for Sore Eyes.David Martin-Jones - 1999 - Film-Philosophy 3 (1).
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  8. Demystifying Deleuze: French Philosophy Meets Contemporary U.S. Cinema.David Martin-Jones - 2009 - In Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies. Routledge.
     
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