Results for 'film'

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Bibliography: Film and Television in Arts and Humanities
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  1. Film, Philosophy and Religion.William H. U. Anderson (ed.) - 2022 - Wilmington, Delaware: Vernon Press.
    'Young People and Social Media: Contemporary Children's Digital Culture' explores the practices, relationships, consequences, benefits, and outcomes of children's experiences with, on, and through social media by bringing together a vast array of different ideas about childhood, youth, and young people's lives. These ideas are drawn from scholars working in a variety of disciplines, and rather than just describing the social construction of childhood or an understanding of children's lives, this collection seeks to encapsulate not only how young people exist (...)
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  2.  2
    Film as Art: 50th Anniversary Printing.Rudolf Arnheim - 1957 - University of California Press.
    In the fall of 1957 the University of California Press expanded Arnheim’s 1933 book _Film_ by four essays and brought that landmark work back into print as _Film as Art._ Now nearly fifty years after that re-edition, the book continues to occupy an important place in the literature of film. Arnheim’s method, provocative in this age of technological wizardry, was to focus on the way art in film was derived from that medium’s early limitations: no sound, no color, (...)
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  3.  7
    Film as Philosophy: Essays on Cinema After Wittgenstein and Cavell.Rupert Read & Jerry Goodenough (eds.) - 2005 - Palgrave-Macmillan.
    A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in film and how they (...)
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  4. Film Language: A Semiotics of the Cinema.Christian Metz - 1974 - University of Chicago Press.
    A pioneer in the field, Christian Metz applies insights of structural linguistics to the language of film. "The semiology of film . . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinema: langue ou langage?'"--Geoffrey Nowell-Smith, Times Literary Supplement "Modern film theory begins with Metz."--Constance Penley, coeditor of Camera Obscura "Any consideration of semiology in relation to the particular field signifying practice of film passes inevitably (...)
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  5. Film Theory and Philosophy.Richard Allen & Murray Smith (eds.) - 1997 - Oxford University Press.
    This volume of new essays energizes a growing movement in film theory which questions and seeks to overturn many of the assumptions that have governed film theory for the last twenty years. The book brings together film scholars and philosophers in a united commitment to the standards of argumentation that characterize analytic philosophy rather than a single doctrinal approach. The essays address such topics as authorship, emotion, ideology, representation, and expression in film.
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  6.  12
    On Film.Stephen Mulhall - 2001 - Routledge.
    In this significantly expanded new edition of his acclaimed exploration of the four Alien movies, Stephen Mulhall adds several new chapters on Steven Spielberg’s Mission: Impossible trilogy and Minority Report . The first part of the book discusses the four Alien movies. Mulhall argues that the sexual significance of the aliens themselves, and of Ripley’s resistance to them, takes us deep into the question of what it is to be human. At the heart of the book is a highly original (...)
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  7.  57
    Film and Ethics: Foreclosed Encounters.Lisa Downing - 2009 - Routledge.
    Film Ethics considers a range of films and texts of film criticism alongside disparate philosophical discourses of ethics by Levinas, Derrida, Foucault, ...
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  8.  1
    Film as Art: 50th Anniversary Printing.Rudolf Arnheim - 1957 - University of California Press.
    In the fall of 1957 the University of California Press expanded Arnheim’s 1933 book _Film_ by four essays and brought that landmark work back into print as _Film as Art._ Now nearly fifty years after that re-edition, the book continues to occupy an important place in the literature of film. Arnheim’s method, provocative in this age of technological wizardry, was to focus on the way art in film was derived from that medium’s early limitations: no sound, no color, (...)
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  9. Bodily Engagements with Film, Images, and Technology: Somavision.Max Ryynänen - 2022 - New York: Routledge.
    This book builds a new understanding of the body and its relationship to images and technology, using a framework where novel writings of pragmatist somaesthetics and phenomenology meet new research on bodily reactions. Max Ryynänen gives an overview of the topic by collecting the existing information of our bodies gazing at visual culture and the philosophies supporting these phenomena, and examines the way the gaze and the body come together in our relationship to culture. Themes covered include somatic film; (...)
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  10.  95
    Film About Cape Town is Being Used to Raise Awareness, and to Ask Wider Questions. [REVIEW]Asma Mehan - 2019 - The Conversation (Africa).
    Academics have increasingly used video and other electronic methods to collect data and capture reflections from participants. But, until recently, it’s been less common to use film as way of disseminating the results of research. That’s beginning to change. Film can be a powerful way to share research findings with a broad audience. This is particularly true when academics are combining) the traditions of ethnography, documentary filmmaking, and storytelling. -/- Film and cinema are increasingly being used in (...)
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  11. Film and Propaganda: The Lessons of the Nazi Film Industry.Gary James Jason - 2013 - Reason Papers 35 (1):203-219.
    This essay is my review of Erwin Leiser’s excellent documentary film Germany Awake. This classic film first aired in Germany in 1968, and remains to this day one of the best surveys of major Nazi-era movies and exactly what messages they were meant to convey. The film underscores the emphasis the regime put on film as one of the premier mechanisms of propaganda, though Leiser’s film points out that most of the cinema produced by the (...)
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  12.  10
    Multimodal Film Analysis: How Films Mean.John A. Bateman - 2012 - Routledge.
    Analysing film. Distinguishing the filmic contribution to meaning -- Examples of filmic "textual organisation" -- Redrawing boundaries -- Organisation of the book -- Semiotics and documents. Semiotics and its relations to film -- The nature of discourse semantics -- The film as cinematographic document -- A combined view: filmic documents for filmic discourse -- Constructing the semiotic mode of film. Semiotic multimodality -- The internal organisation of semiotic strata -- Composing and combining semiotic modes -- Materiality (...)
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  13.  5
    Film, Art, and the Third Culture: A Naturalized Aesthetics of Film.Murray Smith - 2017 - Oxford, UK: Oxford University Press.
    Murray Smith presents an original approach to understanding film. He brings the arts, humanities, and sciences together to illuminate artistic creation and aesthetic experience. His 'third culture' approach roots itself in an appreciation of scientific innovation and how this has shaped the moving media.
  14.  1
    Film Manifestoes and Global Cinema Cultures: A Critical Anthology.Scott MacKenzie - 2014 - University of California Press.
    Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. (...)
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  15.  73
    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 (...)
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  16. Horror Films and the Argument From Reactive Attitudes.Scott Woodcock - 2013 - Ethical Theory and Moral Practice 16 (2):309-324.
    Are horror films immoral? Gianluca Di Muzio argues that horror films of a certain kind are immoral because they undermine the reactive attitudes that are responsible for human agents being disposed to respond compassionately to instances of victimization. I begin with this argument as one instance of what I call the Argument from Reactive Attitudes (ARA), and I argue that Di Muzio’s attempt to identify what is morally suspect about horror films must be revised to provide the most persuasive interpretation (...)
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  17.  4
    Film Worlds: A Philosophical Aesthetics of Cinema.Daniel Yacavone - 2014 - Cambridge University Press.
    _Film Worlds_ unpacks the significance of the "worlds" that narrative films create, offering an innovative perspective on cinema as art. Drawing on aesthetics and the philosophy of art in both the continental and analytic traditions, as well as classical and contemporary film theory, it weaves together multiple strands of thought and analysis to provide new understandings of filmic representation, fictionality, expression, self-reflexivity, style, and the full range of cinema's affective and symbolic dimensions. Always more than "fictional worlds" and "storyworlds" (...)
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  18.  20
    Constructing Film Emotions: The Theory of Constructed Emotion as a Biocultural Framework for Cognitive Film Theory.Timothy Justus - 2022 - Projections 2 (16):74–101.
    In the classical view of emotion, the basic emotions (anger, disgust, fear, joy, sadness, and surprise) are assumed to be natural kinds that are perceiver-independent. Correspondingly, each is thought to possess a distinct neural and physiological signature, accompanied by an expression that is universally recognized despite differences in culture, era, and language. An alternative, the theory of constructed emotion, emphasizes that, while the underlying interoceptive sensations are biological, emotional concepts are learned, socially constructed categories, characterized by many-to-many relationships among diverse (...)
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  19.  53
    Film at the Intersection of High and Mass Culture.Paul Coates - 1994 - Cambridge University Press.
    At the Intersection of High and Mass Culture analyses the contradictions and interaction between high and low art, with particular reference to Hollywood and European cinema. Written in the essayist, speculative tradition of Walter Benjamin and Theodore Adorno, this study also includes analyses of several key films of the 1980s. Tracing the boundaries of such genres as film noir, science fiction and melodrama, it demonstrates how these genres were radically expanded by such filmmakers as Neil Jordan, Chris Merker and (...)
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  20. Film as Philosophy: In Defense of a Bold Thesis.Aaron Smuts - 2009 - Journal of Aesthetics and Art Criticism 67 (3):409-420.
    I argue for a position close to what Paisley Livingston calls the bold thesis of cinema as philosophy. The bold thesis I defend is that films can make innovative, independent philosophical contributions by paradigmatic cinematic means. I clarify the thesis before presenting what Livingston thinks is a fatal problem for any similar position—the problem of paraphrase. As an example in defense of the bold thesis, I offer the "For God and Country" sequence in Sergei Eisenstein’s October (1928). I argue that (...)
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  21.  1
    Film Als Wissensform: Eine Philosophische Untersuchung der Wahrnehmung Filmischer Bewegungsbilder.Peter Remmers - 2018 - Berlin / Boston: De Gruyter.
    Erkenntnisprozesse spielen in der Filmerfahrung eine zentrale Rolle. Dabei vermitteln Filme offenbar nicht einfach nur Tatsachenwissen, wie es gleichermaßen etwa in Aussagen ausgedrückt oder durch Beobachtung belegt würde. Das Wissen, das für die Wahrnehmung filmischer Bewegungsbilder charakteristisch ist, hat vielmehr eine spezifische Form: Es ist bestimmt durch Merkmale der Bildlichkeit, des zeitlich-dynamischen Zeigens, des Filmtons und des sprachlichen Ausdrucks. In der vorliegenden Arbeit werden diese Aspekte in ihrer filmischen Einheit gedacht. Ausgehend von dieser Idee tragen einschlägige Positionen der Filmtheorie, der (...)
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  22. Realism in Film (and Other Representations).Robert Hopkins - 2016 - In Katherine Thomson-Jones (ed.), Current Controversies in the Philosophy of Film. Routledge.
    What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper (...)
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  23.  76
    Movie Review Of: (TV Series) "Route 66".Jason Gary James - 2010 - Liberty (July 2010):50-52.
    This essay is my review of the classic TV series, Route 66. It was a classic “buddy movie,” with two young men who tour the country in a gorgeous 1956 Chevy Corvette, staying in various towns and working at various blue-collar jobs. The acting was generally superb, and the scripts were mainly written by the fine script writer Stirling Silliphant, and produced by the famous producer Herbert Leonard. I suggest that this 50-year-old series tells us a lot about cultural change (...)
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  24.  82
    Movie Review Of: The Artist.Gary James Jason - 2012 - Liberty 1.
    In this essay, I review a French-American gem of a movie, The Artist. This movie was an homage to the silent film era and is itself almost all silent. I discuss both the artistic and financial success of silent movies, and I praise this film for successfully interesting modern theater-goers despite its almost total lack of sound. The film won five Academy Awards, including Best Picture, Best Director, and—for its outstanding lead actor, Jean Dujardin—Best Actor. It is (...)
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  25.  4
    Filmed Thought: Cinema as Reflective Form.Robert B. Pippin - 2019 - University of Chicago Press.
    With the rise of review sites and social media, films today, as soon as they are shown, immediately become the topic of debates on their merits not only as entertainment, but also as serious forms of artistic expression. Philosopher Robert B. Pippin, however, wants us to consider a more radical proposition: film as thought, as a reflective form. Pippin explores this idea through a series of perceptive analyses of cinematic masterpieces, revealing how films can illuminate, in a concrete manner, (...)
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  26.  75
    The Film Theory Reader: Debates and Arguments.Marc Furstenau (ed.) - 2010 - Routledge.
    "The Film Theory Reader brings together a range of key theoretical texts, organized thematically to emphasise the development of specific critical concepts and theoretical models in the field of film theory.
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  27. Film Music and Narrative Agency.Jerrold Levinson - 1996 - In David Bordwell Noel Carroll (ed.), Post-Theory: Reconstructing Film Studies. U Wisconsin Press.
     
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  28. Film Theory: An Introduction.Robert Stam - 2000 - Blackwell.
    This book is a lively and provoking introduction to film theory.
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  29.  3
    Films and Feelings.Raymond Durgnat - 1967 - Faber.
    Raymond Durgnat here examines literally hundreds of films in an effort to isolate universals of the language of films and to loft their poetics to an articulate level.
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  30. Film Art an Introduction.David Bordwell & Kristin Thompson - 1986
     
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  31.  2
    Understanding Film Theory: Theoretical and Critical Perspectives.Christine Etherington-Wright - 2011 - Palgrave-Macmillan.
    This book addresses a very real gap in existing introductory texts that define, explore, and apply key theoretical concepts within the field of film studies.' Alison L. McKee, Assistant Professor, Department of Television-Radio-Film-Theatre, San Jose State University, USA 'This is the book that film students have long been waiting for: a clear, well-written and accessible introduction to film theory. Lucid theoretical exposition and case study film analysis offer readers the most intelligible summary of theory that (...)
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  32. Le Film de Genre Est-Il Comparable À Une "Expérience de Pensée"? Révisions des Concepts de Déterminisme Et d'Agentivité Dans Trois Films Noirs.Toufic El-Khoury - 2020 - Labyrinth: An International Journal for Philosophy, Value Theory and Sociocultural Hermeneutics 22 (1):150-176.
    Is genre film comparable to a thought experiment?Revising concepts of determinism and agency in three film noirs The philosophical approach of film genres, first popularized by authors like Stanley Cavell, allows to consider genre films as narrative variations as pertinent to philosophical discourse as can be a traditional thought experiment, since every question on the essence of a genre and every discussion related to its inner functions, its mechanisms and its themes, generate naturally a philosophical discourse on (...)
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  33.  44
    Phenomenology of Film: A Heideggerian Account of the Film Experience.Shawn Loht - 2017 - Lanham, Md: Lexington Books.
    This interdisciplinary study explores the relevance and application of Martin Heidegger’s phenomenology to key issues in the philosophy film. It develops a comprehensive look at how Heidegger’s thought illuminates historical and contemporary problems the film medium poses to philosophers.
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  34.  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 (...)
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  35.  69
    Film as Phantasm: Dogville’s Cinematic Re-Evaluation of Values.Rebecca Longtin - 2019 - In The Films of Lars von Trier and Philosophy: Provocations and Engagements. London, UK: pp. 19 - 35.
    This paper interprets von Trier’s Dogville as a suspension of belief that provokes a re-evaluation of contemporary moral values. Reading Dogville through the Stoic concept of phantasms and Nietzsche’s perspectivism, I analyze the plot and visual techniques as revealing how we form, evaluate, and re-evaluate our beliefs based on changing impressions and shifting perspectives. The philosophy of the Stoics and Nietzsche and the visual techniques of Dogville demonstrate that the recognition of the artificiality of appearances serves a moral purpose by (...)
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  36.  1
    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 theories (...)
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  37. 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 the use of exponents (...)
     
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  38. Short Film Experience.Pepita Hesselberth, Carlos Miguel Roos Munoz & Bart Vandenabeele - unknown
    Since the advent and standardization of the theatrical feature length film, the audio-visual short has been more or less marginalized in the discussions on cinematic experience. Historically stretching from the ‘early cinema’ of the vaudeville, to the now obsolete ‘little films’ of YouTube and beyond, the audio-visual short traverses a wide variety of media platforms, practices and technologies, including animation, video installation art, video clips and TV commercials, as well as animated GIFs, machinima and DIY movies, made to measure (...)
     
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  39. Philosophy, Film, and the Dark Side of Interdependence.Jonathan Beever (ed.) - 2020 - Lanham: Lexington Books.
    Why might interdependence, the idea that we are made up of our relations, be horrifying? Philosophy, Film, and the Dark Side of Interdependence argues that philosophy can outline the contours of the dark spectre, and that film can shine a light on its shadowy details, together revealing a horror of relations.
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  40. Chinese Film Theory a Guide to the New Era.George Stephen Semsel, Hong Xia & Jianping Hou - 1990 - Greenwood Publishing Group.
    This is the first collection of translations of Chinese film theory to be published in English. By using translations rather than summaries, as other works have done, Chinese Film Theory provides readers with an introduction to the issues current in China's film circles. It includes eighteen chapters written by a broad range of writers--from well established scholars to young people at the beginning of their involvement in film in China. This collection indicates a trend away from (...)
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  41.  12
    Film as Moral Education.Sandra Laugier - 2021 - Journal of Philosophy of Education 55 (1):263-281.
    Journal of Philosophy of Education, Volume 55, Issue 1, Page 263-281, February 2021.
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  42.  4
    Film and the Emotions.Peter A. French & Howard K. Wettstein (eds.) - 2010 - Wiley.
    _ Film and the Emotions _ explores the complicated relationship between filmed entertainment, such as movies and television shows, and our capacity to feel emotions. This volume of _The Midwest Studies in Philosophy_ covers topics such as the role of imagination in our capacity to respond emotionally to films, how emotions felt in response to films relate to emotions felt about real events, and the moral implications of responding emotionally to fictions, among others. This collection includes nineteen original articles (...)
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  43. Film Authorship and Collaboration.Berys Gaut - 1997 - In Richard Allen & Murray Smith (eds.), Film Theory and Philosophy. Oxford University Press. pp. 149--172.
     
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  44. Take Two : Barthes and Film in the Age of Mythologies.Steven Ungar - 2022 - In Jeffrey R. Di Leo & Zahi Anbra Zalloua (eds.), Understanding Barthes, understanding modernism. Bloomsbury Academic.
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  45. Film Novels: A Poetics.Dennis Jay Packard - 2002 - Dissertation, Brigham Young University
    In this study, I explore the viability of what Carl Dreyer called film novels or filmscripts in the form of novels. I show that these novels are viable---that is, they can be written and filmed in ways that deeply engage us in understanding them. ;In the introduction, I explain that this study is a poetics---that is, it formally defines film novels, specifies a standard for successful film novels, and specifies ways of creating film novels so that (...)
     
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  46.  3
    Films and Dreams: Tarkovsky, Bergman, Sokurov, Kubrick, and Wong Kar-Wai.Thorsten Botz-Bornstein - 2007 - Lexington Books.
    Films and Dreams considers the essential link between films and the world of dreams. Thorsten Botz-Bornstein reveals a common structure of "dreamtense" in the works of major filmmakers like Tarkovsky, Sokurov, Bergman, and Wong Kar-wai.
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  47.  67
    Puzzle Films: Complex Storytelling in Contemporary Cinema.Warren Buckland (ed.) - 2009 - Wiley-Blackwell.
    Drawing upon the expertise of film scholars from around the world, Puzzle Films investigates a number of films that sport complex storytelling--from Memento, ...
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  48.  36
    Film, Perception, Aesthetics: An Interview with Bence Nanay.Mark Windsor - 2014 - Postgraduate Journal of Aesthetics 11 (1):2-17.
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  49. 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 all (...)
  50.  43
    Film Column: The Truman Show.John Mcguire - 2001 - Philosophy Now 32:48-50.
    This article discusses some of the philosophical themes in the Hollywood film "The Truman Show." I argue that the film presents and interesting twist on the traditional philosophical problem of skepticism. Whereas Descartes' skeptical worries were based on the deceptive nature of sense perception, the source of illusion and skepticism in the Truman Show is the modern media system and "reality TV." This engaging film compels viewers to reflect upon the extent to which we are all ensnared (...)
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