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Sarah Cooper [10]Sarah Lucy Cooper [1]Sarah S. Cooper [1]
  1.  59
    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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  2.  11
    Selfless Cinema?: Ethics and French Documentary.Sarah Cooper - 2006 - 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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  3.  44
    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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  4.  14
    Introduction: The Occluded Relation: Levinas and Cinema.Sarah Cooper - 2007 - Film-Philosophy 11 (2):i-vii.
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  5.  2
    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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  6.  14
    Breillat’s Time.Sarah Cooper - 2010 - Journal for Cultural Research 14 (1):103-116.
    This article considers an embodied relation to the lived time of personal history in Catherine Breillat’s films, and thereby seeks to move beyond the impersonal aspects of the Deleuzian time‐image. The author draws first of all on Julia Kristeva’s work, particularly her provocative interest in “women’s time”, to argue that Breillat fleshes out a gendered temporality that is bound up with her unique explorations of the female body and sexual desire. In carving out a relation to the present historical moment (...)
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  7. 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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  8.  6
    New Takes on Film and Imagination.Sarah Cooper - 2020 - Paragraph 43 (3):243-248.
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  9. 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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  10.  9
    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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  11.  12
    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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