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Sarah Cooper [14]Sara-Louise Cooper [1]Sarah Lucy Cooper [1]Sarah S. Cooper [1]
Sara Cooper [1]
  1.  98
    Ubuntu as a Framework for Ethical Decision Making in Africa: Responding to Epidemics.Evanson Z. Sambala, Sara Cooper & Lenore Manderson - 2020 - Ethics and Behavior 30 (1):1-13.
    Public health decisions made by the state involve considerable disagreements on the course of actions, uncertainties, and compromises that arise from moral tensions between the demands of civil liberties and the goals of public health. With such complex decisions, it can be extremely difficult to arrive at and justify the best option. In this article, we propose an ethical decision-making framework based on the philosophy of Ubuntu and argue that in sub-Saharan African settings, this approach provides attractive alternative conventions of (...)
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  2.  93
    Mortal Ethics: Reading Levinas with the Dardenne Brothers.Sarah Cooper - 2007 - Film-Philosophy 11 (2):56-87.
    Prior to the productive encounters that can be staged between Emmanuel Levinas’sthought and cinema at the level of reception, Jean-Pierre and Luc Dardenne introducehis philosophy to their filmmaking at its moment of inception.1Luc Dardenne’s diary Audos de nos images documents their filmmaking from 1991 to 2005, and isinterspersed with brief but erudite references to Levinas’s work. While Levinasianthinking is one among many cited influences in this text, which also features quotationsfrom the writings of novelists, poets, and other philosophers, along with (...)
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  3.  48
    Selfless cinema?: ethics and French documentary.Sarah Cooper - 2006 - London, U.K.: Legenda.
    In Selfless Cinema?, Sarah Cooper maps out the power relations of making, and viewing, documentaries in ethical terms. The ethics of filmmaking are often examined in largely legalistic terms, dominated by issues of consent, responsibility, and participantse(tm) or film-makerse(tm) rights, but Cooper approaches four representative French film-makers e" Jean Rouch, Chris Marker, Raymond Depardon, and Agns Varda e" in a far less juridical way, drawing on the ethical philosophy of Emmanuel Levinas. She argues that, in spite of Levinase(tm)s iconoclastic, anti-ocular (...)
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  4.  74
    Introduction: Levinas and Cinema.Sarah Cooper - 2007 - Film-Philosophy 11 (2):66-87.
    Emmanuel Levinas never wrote about cinema. To the uninitiated, this may appearsurprising, given that his life spanned the twentieth century, in which film emerged as amajor art form, and his work includes tantalising allusions to films and the cinematicmedium. Far from surprising, however, the liminal place that cinema occupies inLevinas’s thought is entirely understandable. Although his philosophy features manycultured references to literature and the other arts, and he discusses the work of suchwriters as Marcel Proust and Michel Leiris in some (...)
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  5.  25
    Introduction: The Occluded Relation: Levinas and Cinema.Sarah Cooper - 2007 - Film-Philosophy 11 (2):66–87.
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  6.  14
    Introduction: Thinking Cinema—With Plants.Sarah Cooper - 2023 - Philosophies 8 (2):20.
    There is a moment in Peter Brosens and Jessica Woodworth’s Khadak (2006) when the image of a tree is rotated 180 degrees [...].
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  7.  3
    Variations on the ethics of mourning in modern literature in French.Carole Bourne-Taylor & Sara-Louise Cooper (eds.) - 2022 - New York: Peter Lang.
    How does modern writing in French grapple with the present absence and absent presence of lost loved ones? How might it challenge and critique the relegation of certain deaths to the realm of the unmournable? What might this reveal about the role of the literary in the French and francophone world and shifting conceptions of the nation state? Essays from the Revolution to the present day explore these questions from a variety of perspectives, bringing out the ways in which mourning (...)
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  8.  13
    A Pilot Study on Data-Driven Adaptive Deep Brain Stimulation in Chronically Implanted Essential Tremor Patients.Sebastián Castaño-Candamil, Benjamin I. Ferleger, Andrew Haddock, Sarah S. Cooper, Jeffrey Herron, Andrew Ko, Howard J. Chizeck & Michael Tangermann - 2020 - Frontiers in Human Neuroscience 14.
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  9.  30
    Forensic Science Identification Evidence.Sarah Lucy Cooper - 2016 - Journal of Philosophy, Science and Law 16:1-35.
    For decades, courtrooms around the world have admitted evidence from forensic science analysts, such as fingerprint, tool-mark and bite-mark examiners, in order to solve crimes. Scientific progress, however, has led to significant criticism of the ability of such disciplines to engage in individualization i.e., “match” suspects exclusively to evidence. Despite this, American courts largely reject legal challenges based on arguments that identification evidence provided by these forensic science disciplines is unreliable. In so holding, these courts affirm precedent that it is (...)
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  10. Lorna's silence: Sartre and the Dardenne brothers.Sarah Cooper - 2011 - In Jean-Pierre Boulé & Enda McCaffrey (eds.), Existentialism and Contemporary Cinema: A Sartrean Perspective. Berghahn Books.
     
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  11.  13
    New Takes on Film and Imagination.Sarah Cooper - 2020 - Paragraph 43 (3):243-248.
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  12.  10
    Paper Flowers: Jane Campion, Plant Life, and The Power of the Dog (2021).Sarah Cooper - 2022 - Philosophies 7 (6):143.
    Taking as its point of departure the place of the vegetal realm within Jane Campion’s filmmaking, this article attends to both living and artificial plants, homing in on the exquisitely crafted paper flowers of The Power of the Dog to explore their entanglement with human power relations. Manmade flowers are clearly distinct from the flowers of the garden or the prairie, but in this Western, they form part of a broader floral aesthetic with their living kin. Drawing upon thought that (...)
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  13. Pursuits of transcendence in The man who wasn't there / Tom Martin - Lorna's silence: Sartre and the Dardenne Brothers.Sarah Cooper - 2011 - In Jean-Pierre Boulé & Enda McCaffrey (eds.), Existentialism and Contemporary Cinema: A Sartrean Perspective. Berghahn Books.
     
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  14.  15
    Perceptual-Imaginative Space and the Beautiful Ecologies of Rose Lowder's Bouquets.Sarah Cooper - 2020 - Paragraph 43 (3):314-329.
    Experimental filmmaker Rose Lowder is an intricate explorer of perception. Many of her exquisite silent short films feature flowers that are scrutinized frame by frame in shots that appear to have layers, as well as volume, and to quiver between simultaneity and succession. Yet these perceptual palimpsests that present almost too much for the eye to take in also reveal an as yet unexplored relation to imagination. Informed by ecological principles and foregrounding floral beauty, Lowder's Bouquets create a striking bond (...)
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  15.  17
    The Ethics of Rewriting the Loss of Exile in Manne aux Mandelstams aux Mandelas.Sarah Cooper - 2000 - Paragraph 23 (3):311-323.
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  16.  14
    The soul of film theory.Sarah Cooper - 2013 - New York: Palgrave-Macmillan.
    In contemporary film theory, body and mind have been central to explorations of film form, representation, and spectatorship. While the soul may seem to have no place here, the history of film theory and its legacy to the present suggest otherwise. From the origins of film theory - from Hugo Münsterberg through French Impressionism to writings of the Weimar Republic - to the mid-twentieth century work of Henri Agel and Amédée Ayfre and Henri Agel, as well as Edgar Morin, the (...)
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  17.  10
    Paper Flowers: Jane Campion, Plant Life, and The Power of the Dog (2021).Sarah Cooper - 2022 - Philosophies 7 (6):143.
    Taking as its point of departure the place of the vegetal realm within Jane Campion’s filmmaking, this article attends to both living and artificial plants, homing in on the exquisitely crafted paper flowers of _The Power of the Dog_ to explore their entanglement with human power relations. Manmade flowers are clearly distinct from the flowers of the garden or the prairie, but in this Western, they form part of a broader floral aesthetic with their living kin. Drawing upon thought that (...)
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