Results for 'Francesco Casetti, Film experience, Modernity, Film theory'

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  1.  67
    Francesco Casetti (2008) Eye of the Century: Film, Experience, Modernity.Adriano D'Aloia - 2010 - Film-Philosophy 14 (2):181-190.
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  2.  16
    Casetti on Film Theory.Gregory L. Miller - 2001 - Film-Philosophy 5 (1).
    Francesco Casetti _Theories of Cinema: 1945-1995_ Translated by Francesca Chiostri and Elizabeth Gard Bartolini-Salimbeni, with Thomas Kelso Austin: University of Texas Press, 1999 ISBN 0-292-71207-3 368 pp.
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  3.  1
    Ideology and Experience: The Legacy of Critical Theory.Espen Hammer - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 315-333.
    This chapter discusses the contributions of key members and affiliates of the Frankfurt School of Critical Social Theory to the theory of film. Central to all of these contributions, which tend to be based on some account of Marxism, is that they socially and historically locate film production within capitalism and the various ideological constraints of modernity and late modernity. Being highly skeptical of the so-called culture industry, which is said to produce ideology, the school debated (...)
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  4. Alternative Modernity: The Technical Turn in Philosophy and Social Theory.Andrew Feenberg - 1995 - University of California Press.
    In this new collection of essays, Andrew Feenberg argues that conflicts over the design and organization of the technical systems that structure our society shape deep choices for the future. A pioneer in the philosophy of technology, Feenberg demonstrates the continuing vitality of the critical theory of the Frankfurt School. He calls into question the anti-technological stance commonly associated with its theoretical legacy and argues that technology contains potentialities that could be developed as the basis for an alternative form (...)
     
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  5.  40
    Negotiating Modernity in Weimar Film Theory.Paul M. Malone - 1999 - Film-Philosophy 3 (1).
    Sabine Hake _The Cinema's Third Machine: Writing on Film in Germany 1907-1933_ Lincoln and London: University of Nebraska Press, 1993 ISBN 0-8032-2365-X (hbk.) xvii + 353 pp.
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  6.  30
    Film Theory at the Turning Point of Modernity: On Hugo Münsterberg, Das Lichtspiel: Eine Psychologische Studie [1916] Und Andere Schriften Zum Kino.Pasi Nyyssonen - 1998 - Film-Philosophy 2 (1).
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  7.  12
    Film/Cinema/Movie: A Theory of Experience. [REVIEW]George W. Linden - 1978 - Journal of Aesthetic Education 12 (3):115.
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  8.  46
    Why Film Matters to Political Theory.Davide Panagia - 2013 - Contemporary Political Theory 12 (1):2-25.
    In this article, I claim that film matters to political theory not because of the stories films recount, but because the medium of film offers political theorists an image of political thinking that emphasizes the stochastic serialization of actions. I thus argue that the stochastic serialization of moving images that films project makes available for democratic theory an experience of resistance and change as a felt discontinuity of succession, rather than as an inversion of hierarchical power. (...)
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  9. Cinematic Ethics: Exploring Ethical Experience Through Film.Robert Sinnerbrink - 2015 - Routledge.
    How do movies evoke and express ethical ideas? What role does our emotional involvement play in this process? What makes the aesthetic power of cinema ethically significant? Cinematic Ethics: _Exploring Ethical Experience through Film_ addresses these questions by examining the idea of cinema as a medium of ethical experience with the power to provoke emotional understanding and philosophical thinking. In a clear and engaging style, Robert Sinnerbrink examines the key philosophical approaches to ethics in contemporary film theory and (...)
     
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  10.  14
    The Experience of Modernity. Shock and Melancholy in Walter Benjamin.Natalia Taccetta - 2019 - Las Torres de Lucca. International Journal of Political Philosophy 8 (15):107-133.
    If modernity involves a view through which it is possible to read the uninterrupted historical continuity of social utopia and the harmony of class and the progress of the 19th century, it is fundamental to explore what is the other face of this fantasy of progress that places the individual in modernity in a situation of depression and debt, inasmuch as those promises are never fully fulfilled. Walter Benjamin builds his idea of history rethinking this legacy. He imagines the way (...)
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  11.  81
    Theories of Cinema, 1945-1995.Francesco Casetti - 1999 - University of Texas Press.
    The study of film entered a new era after World War II, as cinema became an acceptable focus for intellectual inquiry. The many ways in which cinema has been imagined, studied, and discussed in the last fifty years are the subject of this comprehensive overview of film theory in the United States and Europe since 1945. Francesco Casetti groups his essays around principal movements in film studies. In the first part of the book, he reviews (...)
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  12. Film and Phenomenology: Toward a Realist Theory of Cinematic Representation.Allan Casebier - 1991 - Cambridge University Press.
    In Film and Phenomenology, Allan Casebier develops a theory of representation first indicated in the writings of the father of phenomenology, Edmund Husserl, and then applies it to the case of cinematic representation. This work provides one of the clearest expositions of Husserl's highly influential but often obscure thought. It also demonstrates the power of phenomenology to illuminate the experience of the art form unique to the twentieth-century cinema. Film and Phenomenology is intended as an antidote to (...)
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  13.  35
    The Poetry of Alessandro De Francesco.Belle Cushing - 2011 - Continent 1 (4):286-310.
    continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost (...)
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  14. Revolution and History in Walter Benjamin: A Conceptual Analysis.Alison F. Ross - 2019 - New York, NY, USA: Routledge.
    This book places Benjamin’s writing on revolution in the context of his conception of historical knowledge. The fundamental problem that faces any analysis of Benjamin’s approach to revolution is that he deploys notions that belong to the domain of individual experience. His theory of modernity with its emphasis on the disintegration of collective experience further aggravates the problem. Benjamin himself understood the problem of revolution to be primarily that of the conceptualization of collective experience (its possibility and sites) under (...)
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  15. Prospects for Film Theory: A Personal Assessment.Noel Carroll - 1996 - In David Bordwell Noel Carroll (ed.), Post-Theory: Reconstructing Film Studies. University of Wisconsin Press.
    Theory appears to have played the ideological-institutional role of enfranchiser, even if the role was ulti-mately an epiphenomenal one. Furthermore, the expectation of gold in "them thar hills" also encouraged too many university presses to invest in film publications, especially when the arcane peregrinations of Theory facilitated their rationalization of their relaxation of their traditional role as academic gatekeepers. Hence film studies has been flooded with repetitive decoctions of the Theory in search of the same (...)
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  16.  8
    Fate, Experience and Tragedy in Simmel’s Dialogue with Modernity.R. W. Button - 2012 - Theory, Culture and Society 29 (7-8):53-77.
    This article explores the neglected idea of fate in Simmel’s thought. It examines the specific definition of fate present in Simmel’s writings and the relation of this definition to tragic drama. The argument operates under the assumption that tragic drama represents the ‘natural habitat’ for the exploration and expression of the fate problematic. In this context, it is argued that Simmel’s rediscovery of the relevance of fate emphasizes the modernity of tragedy. The article explores Simmel’s translation of fate from drama (...)
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  17.  15
    Between Reason and Experience: Essays in Technology and Modernity.Andrew Feenberg & Michel Callon - 2010 - MIT Press.
    The technologies, markets, and administrations of today's knowledge society are in crisis. We face recurring disasters in every domain: climate change, energy shortages, economic meltdown. The system is broken, despite everything the technocrats claim to know about science, technology, and economics. These problems are exacerbated by the fact that today powerful technologies have unforeseen effects that disrupt everyday life; the new masters of technology are not restrained by the lessons of experience, and accelerate change to the point where society is (...)
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  18. Social Acceleration: A New Theory of Modernity.Jonathan Trejo-Mathys (ed.) - 2013 - Cambridge University Press.
    Hartmut Rosa advances an account of the temporal structure of society from the perspective of critical theory. He identifies three categories of change in the tempo of modern social life: technological acceleration, evident in transportation, communication, and production; the acceleration of social change, reflected in cultural knowledge, social institutions, and personal relationships; and acceleration in the pace of life, which happens despite the expectation that technological change should increase an individual's free time. According to Rosa, both the structural and (...)
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  19.  99
    Undoing the Image: Film Theory and Psychoanalysis.Paula Quigley - 2011 - Film-Philosophy 15 (1):13-32.
    The primary aim of this article is to point up an essential attitude, an anxiety even, that has inflected – and perhaps inhibited - our engagement with film. Film theory has been marked by a ‘refusal to see, a looking away’ (Mulvey & Wollen 1976, 36), and my suggestion is that this has achieved its fullest expression in those strands of film theory heavily influenced by psychoanalysis. These, in turn, have remained within a gendered conceptual (...)
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  20. Transformative Experience and the Knowledge Norms for Action: Moss on Paul’s Challenge to Decision Theory.Richard Pettigrew - 2020 - In Becoming Someone New: Essays on Transformative Experience, Choice, and Change. New York, NY, USA:
    to appear in Lambert, E. and J. Schwenkler (eds.) Transformative Experience (OUP) -/- L. A. Paul (2014, 2015) argues that the possibility of epistemically transformative experiences poses serious and novel problems for the orthodox theory of rational choice, namely, expected utility theory — I call her argument the Utility Ignorance Objection. In a pair of earlier papers, I responded to Paul’s challenge (Pettigrew 2015, 2016), and a number of other philosophers have responded in similar ways (Dougherty, et al. (...)
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  21. Cognitive Theory and the Individual Film: The Case of Rear Window.William Seeley & Noel Carroll - 2014 - In Ted Nannicelli and Paul Alexander Taberham (ed.), Cognitive Media Theory. New York, NY, USA: pp. 2350252.
    It has been argued that motion picture theory, or as we prefer to call it theory of the moving image, is too abstract, generalized , or theoretical to be of use for movie makers and critics interested in the production and analysis of particular films. We apply the framework and resources of Cognitivist Film Theory to explain some of the particular ways that Alfred Hitchcock's Rear Window works to engage audiences with an eye to allaying the (...)
     
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  22.  29
    “Cuts in Action”: A High‐Density EEG Study Investigating the Neural Correlates of Different Editing Techniques in Film.Katrin S. Heimann, Sebo Uithol, Marta Calbi, Maria A. Umiltà, Michele Guerra & Vittorio Gallese - 2017 - Cognitive Science 41 (6):1555-1588.
    In spite of their striking differences with real-life perception, films are perceived and understood without effort. Cognitive film theory attributes this to the system of continuity editing, a system of editing guidelines outlining the effect of different cuts and edits on spectators. A major principle in this framework is the 180° rule, a rule recommendation that, to avoid spectators’ attention to the editing, two edited shots of the same event or action should not be filmed from angles differing (...)
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  23.  9
    Inaugurating Philosophy of Film Without Theory.Craig Fox & Britt Harrison - 2020 - Aesthetic Investigations 3 (2):175-184.
    Philosophy of film without theory is a methodology that aims to motivate and legitimise the current and future development of a range of a-, non-, and anti-theoretical ways of working at the intersection of film and philosophy. We contrast philosophy of film without theory with the main traditions of theoretically orientated philosophy of film, as well as philosophically inflected film Theory and film-philosophy. We also draw attention to the range of philosophical (...)
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  24. Transformative Experience and Decision Theory.Richard Pettigrew - 2015 - Philosophy and Phenomenological Research 91 (3):766-774.
    This paper is part of a book symposium for L. A. Paul (2014) Transformative Experience (OUP).
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  25. Emotional Experience in the Computational Belief–Desire Theory of Emotion.Rainer Reisenzein - 2009 - Emotion Review 1 (3):214-222.
    Based on the belief that computational modeling (thinking in terms of representation and computations) can help to clarify controversial issues in emotion theory, this article examines emotional experience from the perspective of the Computational Belief–Desire Theory of Emotion (CBDTE), a computational explication of the belief–desire theory of emotion. It is argued that CBDTE provides plausible answers to central explanatory challenges posed by emotional experience, including: the phenomenal quality,intensity and object-directedness of emotional experience, the function of emotional experience (...)
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  26.  32
    Conscious Experience and Quantum Consciousness Theory: Theories, Causation, and Identity.Mika Suojanen - 2019 - E-Logos Electronic Journal for Philosophy 26 (2):14-34.
    Generally speaking, the existence of experience is accepted, but more challenging has been to say what experience is and how it occurs. Moreover, philosophers and scholars have been talking about mind and mental activity in connection with experience as opposed to physical processes. Yet, the fact is that quantum physics has replaced classical Newtonian physics in natural sciences, but the scholars in humanities and social sciences still operate under the obsolete Newtonian model. There is already a little research in which (...)
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  27. Film Theory Meets Video Games: An Analysis of the Issues and Methodologies in 'ScreenPlay'. [REVIEW]Aaron Smuts - 2003 - Film-Philosophy 7 (7).
    "ScreenPlay" is the first collection of essays devoted to exploring the relationship between cinema and video games. It attempts to introduce the field of video game studies while also increasing our understanding of the two artforms. Although not all of the essays are models of clear thinking on the subject, the volume will be a valuable resource for those working in film, philosophy, new media, and video game studies. Geoff King and Tanya Krzywinska have brought together a diverse collection (...)
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  28. Objects as Temporary Autonomous Zones.Tim Morton - 2011 - Continent 1 (3):149-155.
    continent. 1.3 (2011): 149-155. The world is teeming. Anything can happen. John Cage, “Silence” 1 Autonomy means that although something is part of something else, or related to it in some way, it has its own “law” or “tendency” (Greek, nomos ). In their book on life sciences, Medawar and Medawar state, “Organs and tissues…are composed of cells which…have a high measure of autonomy.”2 Autonomy also has ethical and political valences. De Grazia writes, “In Kant's enormously influential moral philosophy, autonomy (...)
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  29.  13
    Wittgenstein’s ‘Picture Theory’ and the Æsthetic Experience of Clear Thoughts.Dawn M. Phillips - 2011 - In Publications of the Austrian Ludwig Wittgenstein Society - N.S. 17. De Gruyter. pp. 143-162.
    In the Tractatus Logico-Philosophicus Wittgenstein appeals to clarity when he characterises the aim, task and results of philosophy. In this essay I suggest that his ‘picture theory’ of language implies that clarity has aesthetic significance in philosophical work. Wittgenstein claims that the task of philosophy is to make thoughts clear. In the ‘picture theory’ of thought and language, a thought expressed in language is a proposition with a sense and a proposition is a picture of reality. The question (...)
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  30.  48
    Experience and Content: Consequences of a Continuum Theory.W. M. Davies - 1996 - Avebury.
    This book is about experiential content: what it is; what kind of account can be given of it. I am concerned with identifying and attacking one main view - I call it the inferentialist proposal. This account is central to the philosophy of mind, epistemology and philosophy of science and perception. I claim, however, that it needs to be recast into something far more subtle and enriched, and I attempt to provide a better alternative in these pages. The inferentialist proposal (...)
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  31. Critical Theory and Film: Rethinking Ideology in Cinema.Fabio Vighi - 2012 - Continuum.
    Introduction -- The dialectic's narrow margin: film noir between Adorno and Hegel -- On critical theory's dialectical dilemma -- a configuration pregnant with tension: Fritz Lang for critical theory -- Coda: the enjoyment of film in theory.
     
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  32.  4
    Kantian Meditations on the Experience of Modernity.Christian Sieg - 2007 - Telos: Critical Theory of the Contemporary 2007 (140):187-192.
  33.  46
    To Describe a Labyrinth: Dialectics in Jacques Rivette's Film Theory and Film Practice.Douglas Morrey - 2012 - Film-Philosophy 16 (1):30-54.
    This article will explore and explain the use of dialectics in Rivette’sfilm criticism through close reading of a number of his most intriguingarticles before going on to see what place these same concepts andstructures have in Rivette’s own debut feature Paris nous appartient,whose lengthy gestation and tortuous production accompanied much of thisfilm writing.
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  34.  14
    Sarah Cooper The Soul of Film Theory, London: Palgrave. 224 Pp.Agnieszka Piotrowska - 2015 - Film-Philosophy 19 (1).
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  35.  44
    Duplicity, Corruption, and Exceptionalism in the Romanian Experience of Modernity.Marius Ion Benta - 2020 - In Agnes Horvath, Manussos Marangudakis & Arpad Szakolczai (eds.), Duplicity, corruption, and exceptionalism in the Romanian experience of modernity. New York, USA: pp. 211–228.
    The problem of trickster leadership is discussed in this chapter in the context of the Romanian experience of modernity. This experience has emerged as a Post-Byzantine condition; it was strongly marked by the forty years of communist regimes and was loaded with a high amount of duplicity and ambivalence. The chapter argues that the communist type of trickster leadership in Romania was the outcome of a clash between two types of corruption: a domestic one and a global one. The idea (...)
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  36.  4
    The Film Theory That Never Was: A Nervous Manifesto.Gregory Currie - 1997 - In Richard Allen & Murray Smith (eds.), Film Theory and Philosophy. Oxford University Press. pp. 42--59.
    This chapter is a manifesto of the film theory of Gregory Currie. He thinks that his work brings a connection between film and cognitive psychology. The chapter begins with a glimpse of an ideal theoretical structure and his opinion on the philosophical background against the manifesto itself. Then the theses and the arguments on film theory and the philosophy of film, moving pictures, convention, intention, and genre, and the viewer is laid out. The description (...)
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  37.  4
    Introduction: Film Theory and Philosophy.Richard Allen & Murray Smith - 1997 - In Richard Allen & Murray Smith (eds.), Film Theory and Philosophy. Oxford University Press.
    The introduction discusses the influence of two kinds of philosophy to film theory. It describes and clarifies the characteristic methods and strategies of analytic philosophy and film theory, and continental philosophy and film theory. It is concerned with the description of methods, debates, and principles of analytic philosophy with reference to the contributions of philosophy to film theory. It informs and provides indication of issues, methods, and doctrines. It examines, criticizes, and defends (...)
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  38.  6
    Nature and Historical Experience: Essays in Naturalism and in The Theory of History.John Herman Randall - 1958 - New York: Columbia University Press.
    THIS VOLUME owcs its existence to the suggestion and the persuasive insistence of my friend and colleague Justus Buchler... the unpublished papers dealing with "the theory of history" and “the theory of nature” bulked large enough to form a volume in themselves. Hence the volume appears ...with [these] essays in philosophic analysis of two themes that have for some years been central in my own interests. -/- Each of the two Parts deals with a unified theme, and the (...)
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  39.  36
    . Notes on Spectator Emotion and Ideological Film Criticism.Carl Plantinga - 1997 - In Richard Allen & Murray Smith (eds.), Film Theory and Philosophy. 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 (...)
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  40.  42
    Experience and Theory.Mary Gerhart & Allan Melvin Russell - 2004 - Zygon 39 (1):5-11.
  41.  71
    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 (...)
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  42.  16
    Experience & Theory.Lawrence Foster & Joe William Swanson (eds.) - 1970 - [Amherst]University of Massachusetts Press.
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  43. Film Theory: Rational Reconstructions.Warren Buckland - 2012 - Routledge.
    Introduction -- An improbable alliance : Peter Wollen's "The auteur theory" -- Visual stylometry : Barry Salt's "Statistical style analysis of motion pictures" -- Between Shakespeare and Sirk : Thomas Elsaesser's "Tales of sound and fury: observations on the family melodrama" -- From iconicity to semiotic articulation : Christian Metz's "cinema: language or language system?" and language and cinema -- Film as a specific signifying practice : Stephen Heath's "On screen, in frame: film and ideology" -- Against (...)
     
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  44.  60
    The Concept of Trust in Late Modernity, the Relevance of Realist Social Theory.Barbara Colledge, Jamie Morgan & Ralph Tench - 2014 - Journal for the Theory of Social Behaviour 44 (4):481-503.
    In this paper, we argue that trust is an important aspect of social reality, one that realist social theory has paid little attention to but which clearly resonates with a realist social ontology. Furthermore, the emergence of an interest in trust in specific subject fields such as organization theory indicates the growing significance of issues of trust as market liberalism has developed. As such, the emergence of an interest in trust provides support for Archer's characterisation of late modernity (...)
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  45.  2
    The Ideological Impediment: Epistemology, Feminism and Film Theory.Jennifer Hammett - 1997 - In Richard Allen & Murray Smith (eds.), Film Theory and Philosophy. Oxford University Press. pp. 244--259.
    This chapter looks at the ideological impediment of epistemology and feminism. Beginning with the first premise of semiology, Johnston reminded feminists that cinematic images are representations. Feminists were quick to embrace the concept of ideology. But as per this chapter's analysis, the inevitable failure of feminist film scholars to theorize an escape from ideology has no consequences for the practice of feminist film criticism. Thus, there is no consequence for feminism. So in order to avoid falsification effects of (...)
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  46.  19
    Narrowing the 'Wider Issues' in Fuery's New Developments in Film Theory.Latham Hunter - 2002 - Film-Philosophy 6 (1).
    Patrick Fuery _New Developments in Film Theory_ London: MacMillan Press, 2000 ISBN 0-333-74490-X HB; 0-333-74491-8 PB 211 pp.
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  47. A Connectionist Theory of Phenomenal Experience.Jonathan Opie & Gerard O'Brien - 1999 - Behavioral and Brain Sciences 22 (1):127-148.
    When cognitive scientists apply computational theory to the problem of phenomenal consciousness, as many of them have been doing recently, there are two fundamentally distinct approaches available. Either consciousness is to be explained in terms of the nature of the representational vehicles the brain deploys; or it is to be explained in terms of the computational processes defined over these vehicles. We call versions of these two approaches _vehicle_ and _process_ theories of consciousness, respectively. However, while there may be (...)
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  48.  13
    The ‘Good Form’ of Film: The Aesthetics of Continuity From Gestalt Psychology to Cognitive Film Theory.Maria Poulaki - 2018 - Gestalt Theory 40 (1):29-43.
    Summary This article questions certain assumptions concerning film form made by the recent psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative (...)
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  49.  88
    Framing Emotional Perception: Affect and Effect of Aesthetic Experience, or Extensions of Aesthetic Theory Towards Semiotics.Martina Sauer - 2019 - Art Style: Art and Culture International Magazine 4 (4):73-87.
    How does an audience receive a work of art? Does the experience only affect the viewer or does it have an effect and thus influence his or her actions? It is the cultural philosopher Ernst Cassirer and his successors in philosophy and developmental psychology as well as in neuroscience to this day who postulate that perception in general and perception of art in particular are not neutral in their origins but alive and thus meaningful. They assume that both are based (...)
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  50. Color Experience: A Semantic Theory.Mohan Matthen - 2010 - In Jonathan Cohen & Mohan Matthen (eds.), Color Ontology and Color Science. MIT Press. pp. 67--90.
    What is the relationship between color experience and color? Here, I defend the view that it is semantic: color experience denotes color in a code innately known by the perceiver. This semantic theory contrasts with a variety of theories according to which color is defined as the cause of color experience (in a special set of circumstances). It also contrasts with primary quality theories of color, which treat color as a physical quantity. I argue that the semantic theory (...)
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