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Felicity Colman [13]Felicity J. Colman [2]
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Felicity Colman
Manchester Metropolitan University
  1.  43
    Deleuze and Cinema: The Film Concepts.Felicity Colman - 2011 - Berg.
    Introduction : Deleuze's cinematographic consciousness -- Ciné-system -- Movement : the movement-image -- Frame, shot and cut -- Montage -- Perception -- Affect -- Action -- Transsemiotics -- Signs (vector) -- Time -- Politics -- Topology -- Thought -- Conclusion : cinematographic ethics.
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  2.  7
    Digital Feminicity: Predication and Measurement, Materialist Informatics and Images.Felicity Colman - 2014 - Journal of Art, Science, and Technology 14:7-17.
    “Feminicity” is the term for a predicate register that enables feminist work be accounted for as relational “active-points” that collectively can be seen through what they have achieved. But going further, it marks where those active-points contribute to the dynamic field of feminist epistemologies and where change occurs. This article contributes to my larger project’s discussion of this concept. Broadly, feminicity argues that the active-points of feminist practices need to be understood within their situated fields as materialist informatics. In the (...)
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  3.  35
    Affective Entropy: Art as Differential Form.Felicity Colman - 2006 - Angelaki 11 (1):169-178.
  4.  30
    A Creative Life.Felicity Colman & Charles J. Stivale - 2006 - Angelaki 11 (1):1 – 3.
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  5. Affective Imagery : Screen Militarism.Felicity Colman - 2009 - In Eugene W. Holland, Daniel W. Smith & Charles J. Stivale (eds.), Gilles Deleuze: Image and Text. Continuum. pp. 143--159.
     
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  6. Affective Terrorism.Felicity Colman - 2008 - In Anna Hickey-Moody & Peta Malins (eds.), Deleuzian Encounters: Studies in Contemporary Social Issues. Palgrave-Macmillan.
     
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  7. Cinema.Felicity J. Colman - 2011 - In Charles J. Stivale (ed.), Gilles Deleuze: Key Concepts. Mcgill-Queen's University Press.
     
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  8. Deleuze's Kiss: The Sensory Pause of Screen Affect'.Felicity Colman - 2005 - Pli 16:101-113.
     
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  9.  72
    Film, Theory and Philosophy: The Key Thinkers.Felicity Colman (ed.) - 2009 - Acumen Publishing.
    An ideal introduction for students, Film, Theory and Philosophy brings together leading scholars to provide a clear, detailed overview of the key thinkers who have shaped the field of film philosophy. From continental philosophers to analytical philosophers, film-makers, film reviewers, sociologists, and cultural theorists, the essays reveal how philosophy can be applied to film analysis and how film can be used to illustrate philosophical problems. But most importantly, the essays explore how cinema has shaped contemporary philosophy and how philosophy has (...)
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  10.  8
    Film Theory: Creating a Cinematic Grammar.Felicity Colman - 2014 - Columbia University Press.
    Film Theory addresses the core concepts and arguments created or used by academics, critical film theorists, and filmmakers, including the work of Dudley Andrew, Raymond Bellour, Mary Ann Doane, Miriam Hansen, bell hooks, Siegfried Kracauer, Raul Ruiz, P. Adams Sitney, Bernard Stiegler, and Pier Paolo Pasolini. This volume takes the position that film theory is a form of writing that produces a unique cinematic grammar; and like all grammars, it forms part of the system of rules that govern a language, (...)
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  11.  3
    Modality.Felicity Colman - 2019 - Philosophy Today 63 (4):983-998.
    Modal logics support philosophy, providing means to organise information, and to think and act in response to abstract concepts and to real conditions. In its organisation, the modal is generative of the ethics of any given system. Feminist new materialist practices require us to consider ethics when generated by technological rather than theological modalities.
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  12.  15
    Notes on the Feminist Manifesto: The Strategic Use of Hope.Felicity Colman - 2010 - Journal for Cultural Research 14 (4):375-392.
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  13.  12
    Preface [Affectology: On Desiring an Affect of One's Own].Felicity Colman - 2017 - In Marie-Luise Angerer (ed.), Ecology of affect : intensive milieus and contingent encounters. Luneburg, Germany: Meson Press. pp. 7-13.
    The question of affect emerges in the daily realm of routine, and survival; of your physical and existential existence. No matter what the situation or condition in life, as observed, different systems are reactive and generative, corruptible and powerful, colonisable and subversive; that is to say, all systems are subject to affects as much as they are affective, and generative of positive and negative affects within and of a system. This proposition can be tested against whatever the degree of sentience (...)
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  14.  20
    The Power of Memory.Felicity Colman - 2008 - Cultural Studies Review 14 (1).
    A review of Annette Kuhn and Kirsten Emiko McAllister, _Locating Memory: Photographic Acts_.
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