Results for 'Face in motion pictures'

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  1. The Relationship Between Change Detection and Recognition of Centrally Attended Objects in Motion Pictures.Bonnie L. Angelone, Daniel T. Levin & Daniel J. Simons - 2003 - Perception 32 (8):947-962.
  2.  9
    The Face on the Screen: Death, Recognition and Spectatorship.Therese Davis - 2004 - Intellect Books.
    There was a time in screen culture when the facial close-up was a spectacular and mysterious image… The constant bombardment of the super-enlarged, computer-enhanced faces of advertising, the endless 'talking heads' of television and the ever-changing array of film stars' faces have reduced the face to a banal image, while the dream of early film theorists that the 'giant severed heads' of the screen could reveal 'the soul of man' to the masses is long since dead. And yet the (...)
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  3. Philosophy of Film and Motion Pictures: An Anthology.Noël Carroll & Jinhee Choi (eds.) - 2009 - Wiley-Blackwell.
    Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear (...)
     
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  4.  56
    Looking at Motion Pictures (Revised) [.Richard Allen - 2001 - Film-Philosophy 5 (1).
    I shall begin this essay by sketching some Wittgenstein-influenced arguments as to why the causal theory of perception is inadequate. However my main concern is to explore the ramifications for pictorial perception of understanding perception in terms of the causal theory. When 'our ordinary notion of perceiving' is characterized in terms of the existence of a causal connection between an object perceived and our sensory experience of that object the case of pictorial perception generates a paradox.
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  5.  52
    Norbert Elias’s Motion Pictures: History, Cinema and Gestures in the Process of Civilization.Gadi Algazi - 2008 - Studies in History and Philosophy of Science Part A 39 (3):444-458.
    Norbert Elias’s project in The process of civilization involved reconstructing invisible movement—both the slow tempoof long-term historical change and the modification of psychic structures and embodied dispositions. To do this, he resorted to uncommon devices: treating historical texts as constituting a series amenable to a rudimentary discourse analysis, he constructed an imagined ‘curve of civilization’ serving as an approximation of the hidden process of change. Elias’s curve was not supposed to represent single past states, but movement itself, its direction and (...)
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  6.  4
    Affect and Motion Pictures.Jesse Prinz - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 893-921.
    Emotions play at least three key roles in cinema. First, many motion pictures present highly emotional situations, involving characters who fall in love, who endure unbearable loss, and who become hell-bent on revenge. To make sense of movies, we must identify the emotions that drive their characters. Second, motion pictures seem to arouse emotions. We go to tearjerkers that make us cry, splatter films that make us writhe, and action films that keep us at the edges (...)
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  7.  16
    Experiential Realism and Motion Pictures: A Neurophenomenological Approach.Jane Stadler - 2016 - Studia Phaenomenologica 16:439-465.
    This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new (...)
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  8.  8
    Sight, Sound and Society: Motion Pictures and Television in America.Frank Manchel, David Manning White & Richard Averson - 1971 - Journal of Aesthetic Education 5 (2):166.
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  9.  2
    The Phenomenological Movement in Context of the Philosophy of Film and Motion Pictures.Shawn Loht - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 285-313.
    This chapter surveys foundational concepts in the history of phenomenology for the purpose of highlighting their relevance for key contemporary issues in the philosophy of film. A central argument concerns phenomenology’s capacity for unraveling the ontology of film, given phenomenology’s emphasis on accounting for the ontology of phenomena through description based in first-person experience. On this ground, the chapter defends the claim that film’s ontology stems from the projective intentionality of the film viewer, where the communicative nature of embodied vision (...)
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  10.  33
    The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures Since 1915. Martin S. Pernick.Rima D. Apple - 1997 - Isis 88 (2):369-370.
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  11.  25
    Legends in Our Own Time: How Motion Pictures and Television Shows Fulfill the Functions of Myth.Elizabeth C. Hirschman - 2001 - American Journal of Semiotics 17 (3):7-46.
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  12.  5
    Eugenics at the MoviesThe Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures Since 1915.Paul A. Lombardo & Martin S. Pernick - 1997 - Hastings Center Report 27 (2):43.
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  13.  34
    Seeing Fictions in Film: The Epistemology of Movies.George M. Wilson - 2011 - Oxford University Press.
    In works of literary fiction, it is a part of the fiction that the words of the text are being recounted by some work-internal 'voice': the literary narrator. One can ask similarly whether the story in movies is told in sights and sounds by a work-internal subjectivity that orchestrates them: a cinematic narrator. George M. Wilson argues that movies do involve a fictional recounting (an audio-visual narration ) in terms of the movie's sound and image track. Viewers are usually prompted (...)
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  14.  8
    Showing Movement in Children's Pictures: A Study of the Effectiveness of Some Non‐Mimetic Representations of Motion.Douglas P. Newton - 1984 - Educational Studies 10 (3):255-261.
    (1984). Showing Movement in Children's Pictures: a study of the effectiveness of some non‐mimetic representations of motion. Educational Studies: Vol. 10, No. 3, pp. 255-261.
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  15. Moving Pictures: A New Theory of Film Genres, Feelings, and Cognition.Torben Grodal - 1999 - Clarendon Press.
    Providing an alternative to pyschoanalytically based descriptions, this major study presents a unique, new theoretical account of the way emotions and thought patterns interact in creating aesthetic effects in films. Using diverse examples, Torben Grodal shows how films activate effects in the viewer and how these effects are moulded by genres which determine the way in which characters will react in given situations.
     
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  16. Motion(Less) Pictures: The Cinema of Stasis.J. Remes - 2012 - British Journal of Aesthetics 52 (3):257-270.
    While some film theorists and philosophers have seen motion as a necessary element of cinema, this view is challenged by a body of avant-garde films which offer little or no movement. These experiments—by film-makers such as Andy Warhol, Larry Gottheim, and Michael Snow—challenge essentialist definitions of film, while simultaneously foregrounding the crucial role played by duration in cinema’s ontology.
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  17. Music in Narrative Film. On Motion and Stasis : Photography, "Moving Pictures," Music / David Neumeyer, Laura Neumeyer ; the Topos of "Evil Medieval" in American Horror Film Music / James Deaville ; la Leggenda Del Pianista Sull'oceano : Narration, Music, and Cinema / Rosa Stella Cassotti ; Music in Aki Kaurismäki's Film the Match Factory Girl / Erkki Pekkilä ; It's a Little Bit Funny : Moulin Rouge's Sparkling Postmodern Critique.Susan Ingram - 2006 - In Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.), Music, Meaning and Media. University of Helsinki.
  18.  21
    Clique Size and Network Characteristics in Hyperlink Cinema.Jaimie Arona Krems & R. I. M. Dunbar - 2013 - Human Nature 24 (4):414-429.
    Hyperlink cinema is an emergent film genre that seeks to push the boundaries of the medium in order to mirror contemporary life in the globalized community. Films in the genre thus create an interacting network across space and time in such a way as to suggest that people’s lives can intersect on scales that would not have been possible without modern technologies of travel and communication. This allows us to test the hypothesis that new kinds of media might permit us (...)
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  19.  26
    Are Pictures Peculiar Objects of Perception?Gabriele Ferretti - 2017 - Journal of the American Philosophical Association 3 (3):372-393.
    ABSTRACT:Are face-to-face perception and picture perception different perceptual phenomena? The question is controversial. On the one hand, philosophers have offered several solid arguments showing that, despite some resemblances, they are quite different perceptual phenomena and that pictures are special objects of perception. On the other hand, neuroscientists routinely use pictures in experimental settings as substitutes for normal objects, and this practice is successful in explaining how the human visual system works. But this seems to imply that (...)
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  20. Pictures in the Flesh Presence and Appearance in Pictorial Experience.J. Dokic - 2012 - British Journal of Aesthetics 52 (4):391-405.
    This essay explores the prospects of grounding an account of pictorial experience or ‘seeing-in’ on a theory of presence in ordinary perception. Even though worldly objects can be perceptually recognized in a picture, they do not feel present as when they are perceived face to face. I defend a dual view of perceptual phenomenology according to which the sense of presence is dissociated from the contents of perception. On the one hand, the sense of presence is best conceived (...)
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  21.  48
    On the Facilitative Effects of Face Motion on Face Recognition and its Development.Naiqi G. Xiao, Steve Perrotta, Paul C. Quinn, Zhe Wang, Yu-Hao P. Sun & Kang Lee - 2014 - Frontiers in Psychology 5.
  22.  89
    Pictures, Presence and Visibility.Solveig Aasen - 2016 - Philosophical Studies 173 (1):187-203.
    This paper outlines a ‘perceptual account’ of depiction. It centrally contrasts with experiential accounts of depiction in that seeing something in a picture is understood as a visual experience of something present in the picture, rather than as a visual experience of something absent. The experience of a picture is in this respect akin to a veridical rather than hallucinatory perceptual experience on a perceptual account. Thus, the central selling-point of a perceptual account is that it allows taking at (...) value the intuitive claim that we see things in pictures. Preserving this claim has a potential cost, however: we need to postulate that some kind of thing, T, is present in the realm of the picture, and it is not straightforward to find a plausible type of entity to play this role. The paper examines three alternative choices of T; T may be a material object, a visual appearance or a universal. (shrink)
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  23.  16
    Pictures, Emotions, and the Dorsal/Ventral Account of Picture Perception.Gabriele Ferretti - 2017 - Review of Philosophy and Psychology 8 (3):595-616.
    Everyday life suggests that picture seeing is sometimes infused by an emotional charge. However, nobody has addressed the importance of explaining this emotional charge in picture perception. Even our best model of picture perception, the dorsal/ventral account of picture perception, which integrates the most important empirical results coming from our best model on vision in neuroscience, the two visual systems model, lacks a reference to this emotional charge. The aim of the present paper is to offer an account of picture (...)
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  24. Touching Pictures.Robert Hopkins - 2000 - British Journal of Aesthetics 40 (1):149-167.
    Congenitally blind people can make and understand ‘tactile pictures’ – representations form of raised ridges on flat surfaces. If made visible, these representations can serve as pictures for the sighted. Does it follow that we should take at face value the idea that they are pictures made for touch? I explore this question, and the related issue of the aesthetics of ‘tactile pictures’ by considering the role in both depiction and pictorial aesthetics of experience, and (...)
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  25.  93
    Twisted Pictures: Morality, Nihilism and Symbolic Suicide in the Saw Series.Steve Jones - 2013 - In James Aston & John Walliss (eds.), To See the Saw Movies: Essays on Torture Porn and Post-9/11 Horror. McFarland. pp. 105-122.
    Given that numerous critics have complained about Saw’s apparently confused sense of ethics, it is surprising that little attention has been paid to how morality operates in narrative itself. Coming from a Nietzschean perspective - specifically questioning whether the lead torturer Jigsaw is a passive or a radical nihilist - I seek to rectify that oversight. This philosophical reading of the series explores Jigsaw’s moral stance, which is complicated by his hypocrisy: I contend that this underpins critical complaints regarding the (...)
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  26. Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine / Sam B. Girgus.Sam B. Girgus - 2010 - Columbia University Press.
    Introduction : time, film, and the ethical vision of Emmanuel Levinas. American transcendence : Levinas and a short history of an American idea in film -- Frank Capra and James Stewart : time, transcendence, and the other -- The changing face of American redemption : Henry Fonda, Marilyn Monroe, Paul Newman, and Denzel Washington -- Sex, art, and Oedipus : The unbearable lightness of being -- Fellini and La dolce vita : documentary, decadence, and desire -- Antonioni and L'avventura (...)
     
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  27. Minerva's Night Out: Philosophy, Pop Culture, and Moving Pictures.Noël Carroll - 2013 - Wiley-Blackwell.
    _Minerva’s Night Out_ presents series of essays by noted philosopher and motion picture and media theorist Noël Carroll that explore issues at the intersection of philosophy, motion pictures, and popular culture. Presents a wide-ranging series of essays that reflect on philosophical issues relating to modern film and popular culture Authored by one of the best known philosophers dealing with film and popular culture Written in an accessible manner to appeal to students and scholars Coverage ranges from the (...)
     
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  28. Inflected and Uninflected Perception of Pictures.Bence Nanay - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
    It has been argued that picture perception is sometimes, but not always, ‘inflected’. Sometimes the picture’s design ‘inflects’, or is ‘recruited’ into the depicted scene. The aim of this paper is to cash out what is meant by these metaphors. Our perceptual state is different when we see an object fact to face or when we see it in a picture. But there is also a further distinction: our perceptual state is very different if we perceive objects in (...) in an inflected or uninflected manner. The question is what this difference amounts to. My answer is that it is a difference of attention. In the case of inflected, but not uninflected, picture perception, we are consciously attending to certain properties: to relational property that cannot be fully characterized without reference to both the picture’s design and to the depicted object. I defend this way of interpreting inflected picture perception from some important objections and emphasize the importance of this, inflected, way of perceiving pictures. (shrink)
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  29. The Philosophy of Motion Pictures.Noël Carroll - 2007 - Wiley-Blackwell.
    _Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.
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  30.  8
    Structure, Expression, and Motion in Facial Attractiveness.Ian Penton-Voak & Edward Morrison - 2011 - In Andy Calder, Gillian Rhodes, Mark Johnson & Jim Haxby (eds.), Oxford Handbook of Face Perception. Oxford University Press.
    This article reviews recent developments in experimental facial attractiveness research. It outlines the important social consequences of facial attractiveness in social life and briefly reviews the structural factors associated with attractiveness in both sexes taking a theoretical perspective largely influenced by evolutionary biology. The study discusses individual differences in preferences from this theoretical perspective. Attractiveness is also affected by aspects of the face that are manifestly not static. Facial motion and expression involve changing configurations of the face (...)
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  31.  13
    The Philosophy of Motion Pictures.Katherine Thomson-Jones - 2008 - Journal of Aesthetics and Art Criticism 66 (4):401-403.
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  32.  14
    Saving Mr. Banks: Directed by John Lee Hancock, Written by Kelly Marcel and Sue Smith, 2013, Walt Disney Pictures, Ruby Films, and Essential Media & Entertainment.Katrina A. Bramstedt - 2014 - Journal of Bioethical Inquiry 11 (2):261-262.
    Expecting Saving Mr. Banks to be a jolly jaunt about the creative development of the movie Mary Poppins (1964), I found myself waiting endlessly for the “jolliness” to begin—it never did. In fact, rather than joy, there was an ever-present sensation of tension as I watched the film. Having moved house myself in recent days (during a Queensland heat wave), the scenes of the Goff family leaving their home and trekking across hot, dusty Queensland were very emotional. However, seeing the (...)
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  33.  11
    A Cinema for the Unborn: Moving Pictures, Mental Pictures and Electra Sparks's New Thought Film Theory.Patrick Ellis - 2017 - British Journal for the History of Science 50 (3):411-428.
    In the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded (...)
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  34. Einstein's Miraculous Year: Five Papers That Changed the Face of Physics.John J. Stachel (ed.) - 2005 - Princeton University Press.
    After 1905, Einstein's miraculous year, physics would never be the same again. In those twelve months, Einstein shattered many cherished scientific beliefs with five extraordinary papers that would establish him as the world's leading physicist. This book brings those papers together in an accessible format. The best-known papers are the two that founded special relativity: On the Electrodynamics of Moving Bodies and Does the Inertia of a Body Depend on Its Energy Content? In the former, Einstein showed that absolute time (...)
     
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  35. The Philosopher at the End of the Universe: Philosophy Explained Through Science Fiction Films.Mark Rowlands - 2003 - T. Dunne Books/St. Martin's Press.
    The Philosopher at the End of the Universe demonstrates how anyone can grasp the basic concepts of philosophy while still holding a bucket of popcorn. Mark Rowlands makes philosophy utterly relevant to our everyday lives and reveals its most potent messages using nothing more than a little humor and the plotlines of some of the most spectacular, expensive, high-octane films on the planet. Learn about: The Nature of Reality from The Matrix, Good and Evil from Star Wars, Morality from Aliens, (...)
     
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  36. Philosophy of Film and Motion Pictures: An Anthology.Jinhee Choi (ed.) - 2005 - Wiley.
     
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  37.  21
    Peirce, Muybridge, and the Moving Pictures of Thought.Richard Kenneth Atkins - 2017 - Transactions of the Charles S. Peirce Society 53 (4):511.
    The System of Existential Graphs may be characterized with great truth as presenting before our eyes a moving picture of thought. Provided this characterization be taken not as a flatly literal statement, but as a simile, it will, I venture to predict, surprise you to find what a strain of detailed comparison it will bear without snapping.Peirce once called his graphical system of logic—the Existential Graphs or EGs—the moving pictures of thought. In this essay, I argue that Peirce meant (...)
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  38. Narration in the Fiction Film.David Bordwell - 1985 - University of Wisconsin Press.
    In this study, David Bordwell offers the first comprehensive account of how movies use fundamental principles of narrative representation, unique features of ...
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  39.  49
    Existentialism and Contemporary Cinema: A Sartrean Perspective.Jean-Pierre Boulé & Enda McCaffrey (eds.) - 2011 - Berghahn Books.
    At the heart of this volume is the assertion that Sartrean existentialism, most prominent in the 1940s, particularly in France, is still relevant as a way of ...
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  40.  27
    The Palgrave Handbook of the Philosophy of Film and Motion Pictures.Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.) - 2019 - Springer.
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  41. Motion Pictures : Literary Images of Horizontal Movement.Guido Isekenmeier - 2011 - In Renate Brosch, Ronja Tripp & Nina Jürgens (eds.), Moving Images, Mobile Viewers: 20th Century Visuality. Lit.
     
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  42. The Impertinent Self: A Heroic History of Modernity.Josef Früchtl - 2009 - Stanford University Press.
    Hegel, the western and classical modernity. The myth and the frontier ; The hero in the epochs of mythical and the bourgeois ; The end of the individual ; The end of the subject -- Romanticism, crime and agonal modernity. The return of tragedy in modernity ; Heroes of coolness and the ironist -- Nietzsche, science fiction and hybrid modernity. Heroic individualismus and metaphysics ; Superhumans, supermen, cyborgs ; Heroes of the future.
     
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  43. Image and Mind: Film, Philosophy and Cognitive Science.Gregory Currie - 1995 - Cambridge University Press.
    This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...)
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  44.  35
    Fatalism in American Film Noir: Some Cinematic Philosophy.Robert B. Pippin - 2011 - University of Virginia Press.
    Introduction -- Trapped by oneself in Jacques Tourneur's Out of the past -- "A deliberate, intentional fool" in Orson Welles's The lady from Shanghai -- Sexual agency in Fritz Lang's Scarlet Street -- "Why didn't you shoot again, baby?": concluding remarks.
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  45.  29
    Existentialism and Contemporary Cinema: A Beauvoirian Perspective.Jean-Pierre Boulé & Ursula Tidd (eds.) - 2012 - Berghahn Books.
    This book is an attempt to redress this balance and reopen the dialogue between Beauvoir's writings and film studies.
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  46.  3
    Historical Visuals and Reconstruction of Motion: A Gestalt Perspective on Medieval Fencing Iconography.Harrison Ridgeway & Maciej Talaga - 2020 - Gestalt Theory 42 (2):145-164.
    Summary Several subdisciplines within historiography, most notably the arms and armour or martial arts studies, are interested in inferring physical qualities of historical material objects from historical sources. Scholars from these fields face serious deficiency of written accounts when it comes to various crucial information regarding their subject matter. Therefore, researchers’ attention is often drawn to iconographical sources, sometimes resulting in certain fascination with the material culture depicted in primary technical literature. This tendency seems particularly strong in studies on (...)
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  47.  29
    The Picture of Health: Medical Ethics and the Movies.Henri G. Colt, Silvia Quadrelli & Lester D. Friedman (eds.) - 2011 - Oxford University Press.
    This volume presents a collection of about 80 very brief, accessible essays written by international experts from medicine, social sciences, and the humanities, ...
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  48. Realism and the Cinema: A Reader.Christopher Williams (ed.) - 1980 - Routledge & Kegan Paul in Association with the British Film Institute.
     
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  49.  91
    The Philosophy of Motion Pictures • by Noël Carroll.Andrew Kania - 2009 - Analysis 69 (1):194-195.
    Book review of _The Philosophy of Motion Pictures_ by Noël Carroll.
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  50.  30
    A Rejoinder to Noèl Carrol's The Philosophy of Motion Pictures.Daniel Shaw - 2008 - Film-Philosophy 12 (2):142-151.
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