Results for 'philosophy of film'

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  1. The Philosophy of Film and Film as Philosophy.Tom McClelland - 2011 - Cinema 2:11-35.
    This paper explores the idea that popular narrative film can somehow contribute to our philosophical understanding. I identify a number of problems with this 'film as philosophy' thesis and argue that the capacity of film to contribute to philosophy is not as great as many authors think. Specifically, I argue that film can only offer genuinely distinctive insights into philosophical questions *about film* and explore Hitchcock's Rear Window as an example of this.
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  2.  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 (...)
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  3. Philosophy of Film: An Introduction.Aaron Smuts - 2016 - Routledge.
    Philosophy of Film: A Contemporary Introduction (Routledge) provides a critical overview of the literature on eleven different issues in the philosophy of film, from "What is Film?" to "Can Film Do Philosophy?" It aims to provide an objective overview of the principal arguments on each side of the issues. The set of issues includes all of the most important topics as well as some that are less well represented in the discipline, such as (...)
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  4.  5
    Graham Jones and Ashley Woodward Acinemas: Lyotard's Philosophy of Film.Dominic Lash - 2019 - Film-Philosophy 23 (3):391-394.
    Review of Graham Jones and Ashley Woodward, eds., "Acinemas: Lyotard's Philosophy of Film" (Edinburgh University Press).
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  5.  1
    Analytic Philosophy of Film.Richard Eldridge - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 237-258.
    This chapter contrasts the broadly empirical, pluralist, and construction device–oriented approaches to film study of analytic philosophy of film with the broadly socially hermeneutic, artistically and politically avant-gardist stances of Continental film theory. Analytic philosophy of film has tended to focus on classic Hollywood films and continuity editing, in order to explore the achievements of these films as art, while Continental film theory frequently finds such films to be regressive and technically uninteresting. I (...)
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  6.  1
    The Phenomenological Movement in Context of the Philosophy of Film and Motion Pictures.Shawn Loht - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 285-313.
    This chapter surveys foundational concepts in the history of phenomenology for the purpose of highlighting their relevance for key contemporary issues in the philosophy of film. A central argument concerns phenomenology’s capacity for unraveling the ontology of film, given phenomenology’s emphasis on accounting for the ontology of phenomena through description based in first-person experience. On this ground, the chapter defends the claim that film’s ontology stems from the projective intentionality of the film viewer, where the (...)
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  7.  4
    The Relevance of Heidegger’s Conception of Philosophy to the Film-as-Philosophy Debate.Shawn Loht - 2016 - Film and Philosophy 19:34-53.
    Provides an account of philosophy adopted from Being and Time and later works of Heidegger in order to respond to key questions in the film-as-philosophy debate. I follow the school of Stanley Cavell, Robert Sinnerbrink, and Stephen Mulhall in the view that philosophy occurs in film in phenomenological ways that transcend mere argumentative discourse and logical analysis. Some of the views I counter include those of Bruce Russell and Paisley Livingston.
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  8. Psychoanalysis and the Philosophy of Film.Nickolas Pappas - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 923-945.
    Psychoanalytic treatments of film encounter difficulties resembling those that Plato faced when he criticized tragedy: uncertainty over which persons are the objects of theoretical scrutiny; the call for the theorist’s anhedonia; and confusion between unperceived cognitive processes and those that are unconscious because disavowed. The uncertainty over objects lets us sort psychoanalyses of film according to whether they assess a film’s maker, its characters, the work, or its audience. Each approach shows promise but also comes with problems. (...)
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  9.  22
    How to Teach Philosophy of Film.Katherine Thomson-Jones - 2016 - Teaching Philosophy 39 (3):329-345.
    Even though philosophy of film is a relatively small and relatively young philosophical subfield, I argue that it is well worth a dedicated undergraduate course. I outline such a course below, with reference to particular anthologies of readings and a corresponding list of central topics. I recommend adopting a broad conception of film, to include moving image works in a range of formats and technological media, as well as an inclusive approach to philosophizing about film, one (...)
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  10.  75
    The Philosophy of Film Noir.Mark T. Conard & Robert Porfirio (eds.) - 2006 - University Press of Kentucky.
    The Philosophy of Film Noir explores philosophical themes and ideas inherent in classic noir and neo-noir films, establishing connections to diverse thinkers ...
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  11. The Role of Empathy in Gregory Currie's Philosophy of Film.Margrethe Bruun Vaage - 2009 - British Journal of Aesthetics 49 (2):109-128.
    Although Gregory Currie is often presented as a strong defender of empathic simulation as part of spectator engagement, this paper questions the importance of empathy in Currie's philosophy of film. Currie's account of the imagination is too propositional, and his account of a more sensuous and experiential kind of imagining is found wanting. While giving a convincing account of impersonal imagining in relation to fiction film, Currie does not sufficiently explain what empathy is, and what relation it (...)
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  12. Philosophy of the Film: Epistemology, Ontology, Aesthetics.I. C. Jarvie - 1987 - Routledge & Kegan Paul.
    Examines the overlap between film and philosophy in three distinct ways: epistemological issues in film-making and viewing; aesthetic theory and film; and film as a medium of philosophical expression. This title available in eBook format. Click here for more information . Visit our eBookstore at: www.ebookstore.tandf.co.uk.
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  13. Philosophy of Film and Motion Pictures: An Anthology.Noël Carroll & Jinhee Choi (eds.) - 2009 - Wiley-Blackwell.
    Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues (...)
     
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  14. Philosophy of Literature, and Philosophy of Film and Motion Pictures, 2 Book Pack.Eileen John, Dominic McIver Lopes, Noël Carroll & Jinhee Choi (eds.) - 2008 - Wiley-Blackwell.
    Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: _ _ Philosophy of Literature_: Contemporary and Classic Readings_ _Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 _ Philosophy of Film and Motion Pictures_: An Anthology _Edited by No ë l Carroll and Jinhee Choi ISBN: 9781405120272.
     
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  15.  17
    Philosophy and the Patience of Film in Cavell and Nancy.Daniele Rugo - 2016 - Palgrave.
    With a foreword by Jean-Luc Nancy -/- Philosophy and the Patience of Film presents a comparative study of the work of Jean-Luc Nancy and Stanley Cavell. It discusses the effect of their philosophical engagement with film, and proposes that the interaction between philosophy and film produces a power of patience capable of turning our negation of the world into a relation with it. -/- Through detailed readings of cinematic works ranging from Hollywood classics to contemporary (...)
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  16. Current Controversies in Philosophy of Film.Katherine Thomson-Jones - 2016 - Routledge.
    This volume advances the contemporary debate on five central issues in the philosophy of film. These issues concern the relation between the art and technology of film, the nature of film realism, how narrative fiction films narrate, how we engage emotionally with films, and whether films can philosophize. Two new essays by leading figures in the field present different views on each issue. The paired essays contain significant points of both agreement and disagreement; new theories and (...)
     
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  17.  6
    Phenomenological Preconditions of the Concept of Film-as-Philosophy.Shawn Loht - 2015 - Journal of Aesthetics and Phenomenology 2 (2):171-185.
    This article surveys influential views on the topic of film-as-philosophy, principally the positions of Bruce Russell, Thomas Wartenburg, Noël Carroll, and Stephen Mulhall. Historically, this conversation has been restricted to a somewhat conservative view initiated by Russell and defended by others, according to which the film medium is fundamentally incapable of generating positive philosophical achievement in purely cinematic fashion. One of my interests is to show how the dialogue initiated by Russell suffers from relying on overly restrictive (...)
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    Film as Ethical Philosophy and the Question of Philosophical Arguments in Film: A Reading of The Tree of Life.Shawn Loht - 2014 - Film and Philosophy 18:164-183.
    Responds to the seminal claim of Bruce Russell that films cannot present philosophical arguments. Provides a reading of The Tree of Life (Terrence Malick, 2011) in order to illustrate how this film presents an environmental ethics argument. Some reference to the environmental philosophy of Holmes Rolston III as well as Martin Heidegger.
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  19.  23
    The Figural as Interface in Film and the New Media : Review of 'Reading the Figural, or, Philosophy After the New Media' by D. N. Rodowick. [REVIEW]Warwick Mules - 2003 - Film-Philosophy 7 (7):7--56.
    In his recently published book _Reading the Figural, or, Philosophy after the New Media_, D. N. Rodowick introduces the figural into the analysis of film and new media. The book contains revised versions of already published articles written in the 1980s and 1990s, [1] together with new material, and takes us on a journey through film theory and new media technologies to draw out the power of figuration in the coming digital age. Recognizing the 'tectonic shift' (205)currently (...)
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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 (...)
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  21.  9
    Dispositif, Matter, Affect, and the Real: Four Fundamental Concepts of Lyotard's Film-Philosophy.Ashley Woodward - 2019 - Film-Philosophy 23 (3):303-323.
    Jean-François Lyotard's work remains a largely untapped resource for film-philosophy. This article surveys four fundamental concepts which indicate the fecundity of this work for current studies and debates. While Lyotard was generally associated with the “theory” of the 1980s which privileged language, signs, and cultural representations, much of his work in fact resonates more strongly with the new materialisms and realisms currently taking centre stage. The concepts examined here indicate the relevance of Lyotard's work in four related contemporary (...)
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  22.  18
    Problem Formation in the Analytic Philosophy of Film.Warren Buckland - 2001 - Film-Philosophy 5 (1).
    _Film Theory and Philosophy_ Edited by Richard Allen and Murray Smith Oxford: Clarendon Press, 1997; pbk 1999 ISBN 0-19-815921-8 (hbk); 0-19-815988-9 (pbk) 474 pp.
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  23.  2
    Film and Skepticism Cavell’s „Correction“ of Poststructuralist Philosophy of Arts.Nikola Dedic - 2015 - Filozofija I Društvo 26 (1):205-225.
    The main aim of this paper is the critique of poststructuralist theory of art, and particularly thesis about the avant-garde peace of art as a kind of transgression. As a starting point of this critique, the ordinary language philosophy developed by American philosopher Stanley Cavell is used, particularly his film theory. While poststructuralist philosophy was developed around the notion of ideology, Cavell interprets film and arts in general around the notion of skepticism. While poststructuralism, because of (...)
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  24. The Philosophy of Documentary Film.David LaRocca (ed.) - 2016 - Lexington Books.
    Perhaps nowhere in the broad expanse of types of film is the old “quarrel between philosophy and poetry” more evident—and also more vitally relevant—than in the genre or mode of film known as documentary. Documentary film is just another form of poetic imitation, in its variety of instances and complexity of fabrication, it is just as much caught up with the limitations—and effects—of mimetic art, including fiction film. This book affords a prismatic perspective on documentary (...)
     
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  25. Cartesianism and Intersubjectivity in Paranormal Activity and the Philosophy of Mind.Steve Jones - 2017 - Film-Philosophy 21 (1):1-19.
    Over the last century within the philosophy of mind, the intersubjective model of self has gained traction as a viable alternative to the oft-criticised Cartesian solipsistic paradigm. These two models are presented as incompatible inasmuch as Cartesians perceive other minds as “a problem” for the self, while intersubjectivists insist that sociality is foundational to selfhood. This essay uses the Paranormal Activity series (2007–2015) to explore this philosophical debate. It is argued that these films simultaneously evoke Cartesian premises (via found-footage (...)
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    Afterimages of Gilles Deleuze's Film Philosophy.David Norman Rodowick (ed.) - 2009 - University of Minnesota Press.
    Since their publication, these books have had a profound impact on the study of film and philosophy. Film, media, and cultural studies scholars still grapple today with how they can most productively incorporate Deleuze's thought.
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  27.  16
    Perversion and Method. Zizek’s "Platonic Love" for Film, Dialectics of Exemplification and the Catastrophe of Psychoanalysis in the Cinematic Discourse of Philosophy.Borislav Mikulic - 2013 - Filozofija I Društvo 24 (1):381-422.
    The article discusses the relation between the paradigmatic status of film and use of film analogies in the psychoanalytic discourse on society and culture by Slavoj Zizek, which represents the very ground of his philosophical discourse in general. In the first part, starting with a recent discussion by different English and American scholars on controversial aspects of Slavoj Zizek?s activity in academia and on a broader public scene, the paper discusses on some parallel examples and inherent motivators of (...)
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  28.  2
    Philosophy of Film, or Philosophies of Film?Deborah Knight - 2004 - Film and Philosophy 8:146-153.
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    Empiricism and the Philosophy of Film.Cynthia Freeland - 2004 - Film and Philosophy 8:154-171.
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  30. The Present State of the Philosophy of Film.Ian Jarvie - 2004 - Film and Philosophy 8:142-145.
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  31. Afterimages of Gilles Deleuze's Film Philosophy.D. N. Rodowick (ed.) - 2010 - Univ of Minnesota Press.
    The French philosopher Gilles Deleuze was one of the most innovative and revolutionary thinkers of the twentieth century. Author of more than twenty books on literature, music, and the visual arts, Deleuze published the first volume of his two-volume study of film, _Cinema 1: The Movement-Image_, in 1983 and the second volume, _Cinema 2: The Time-Image_, in 1985. Since their publication, these books have had a profound impact on the study of film and philosophy. Film, media, (...)
     
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  32.  2
    The Condition of Film as Philosophy: Or, How Can a Film Ask a Question?Jonathan Lahey Dronsfield - 2006 - Film and Philosophy 10:135.
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  33. Teaching Philosophy Through Film Aristotle's Theory of Friendship and The Third Man.Thomas E. Wartenberg - 2009 - Film and Philosophy 13:19-34.
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  34.  32
    Film as Heideggerian Art? A Reassessment of Heidegger, Film, and His Connection to Terrence Malick.Shawn Loht - 2013 - Film and Philosophy 17:113-36.
    Proposes a shift in thinking about the connection of Malick's filmmaking and the philosophy of Heidegger. My approach considers Heidegger's philosophy of art in order to develop some outlines of a Heideggerian philosophy of film. I also consider some aspects of Terrence Malick's films viewed as exemplar instances of the philosophical theory of film Heidegger's work can support.
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  35.  40
    Philosophy of Film.Thomas Wartenberg - 2008 - Stanford Encyclopedia of Philosophy.
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  36.  19
    Deleuze, Rodowick, and the Philosophy of Film.Louis Schwartz - 2000 - Film-Philosophy 4 (1).
    D. N. Rodowick _Gilles Deleuze's Time Machine_ Durham and London: Duke University Press, 1997 ISBN: 0822319705 280 pp.
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  37. Philosophy of Film: Continental Perspectives.Thorsten Botz-Bornstein - 2011 - In James Fieser & Bradley Dowden (eds.), Internet Encyclopedia of Philosophy.
     
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  38. Philosophy, Film, and the Dark Side of Interdependence.Jonathan Beever (ed.) - 2020 - 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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  39. 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 (...)
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  40.  7
    The Philosophy of Film Noir, Edited by Mark Conrad.Les Reid - 2008 - Philosophy Now 69:45-46.
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  41. The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture.Patricia Pisters - 2012 - Stanford University Press.
    Introduction : schizoanalysis, digital screens and new brain circuits -- Schizoid minds, delirium cinema and powers of machines of the invisible -- Illusionary perception and powers of the false -- Surveillance screens and powers of affect -- Signs of time : meta/physics of the brain-screen -- Degrees of belief : epistemology of probabilities -- Powers of creation : aesthetics of material-force -- The open archive : cinema as world-memory -- Divine in(ter)vention : micropolitics and resistance -- Logistics of perception 2.0 (...)
     
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  42.  64
    Survey of a Field? On Philosophy and Film , Edited by Cynthia A. Freeland and Thomas E. Wartenberg.Brian K. Aurand - 1998 - Film-Philosophy 2 (1).
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  43.  10
    Introduction: The Surfaces of Film-Philosophy.Catherine Constable, Matt Denny & Timotheus Vermeulen - 2018 - Film-Philosophy 22 (2):143-147.
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  44.  14
    Patricia Pisters The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture.Maria Walsh - 2015 - Film-Philosophy 19 (1).
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  45. Ian Jarvie: "Philosophy of the Film". [REVIEW]Barrie Falk - 1989 - Journal of Applied Philosophy 6 (1):112.
     
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  46.  53
    A Philosophy of the Screenplay.Ted Nannicelli - 2012 - Routledge.
    Recently, scholars in a variety of disciplines—including philosophy, film and media studies, and literary studies—have become interested in the aesthetics, definition, and ontology of the screenplay. To this end, this volume addresses the fundamental philosophical questions about the nature of the screenplay: What is a screenplay? Is the screenplay art—more specifically, literature? What kind of a thing is a screenplay? Nannicelli argues that the screenplay is a kind of artefact; as such, its boundaries are determined collectively by screenwriters, (...)
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  47.  46
    The Wartenberg-Smith Film as Philosophy Debate: Review of Current Controversies in Philosophy of Film[REVIEW]Diana Neiva - 2019 - American Society for Aesthetics Graduate E-Journal 11 (1):1-13.
  48.  86
    The Philosophy of Film: Introductory Text and Readings.Thomas E. Wartenberg & Angela Curran (eds.) - 2005 - Wiley-Blackwell.
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  49.  27
    Philosophy of the Film: Epistmology, Ontology, Aesthetics. [REVIEW]Francis Sparshott - 1990 - International Studies in Philosophy 22 (3):120-121.
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    The Palgrave Handbook of the Philosophy of Film and Motion Pictures.Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.) - 2019 - Springer.
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