Tractatus Logico-Pilosophicus, the only book published during Ludwig Wittgenstein's lifetime , has since attracted the imagination of generations of philosophers as a work of great philosophical genius. Nonetheless, even today, more than eighty years later, philosophers are struggling to reconcile its diverse themes within a single, coherent picture. The present work is an attempt to meet this challenge. ;Wittgenstein considered the single proposition as a concrete model for the fact. The challenge is to show how a system of propositions can (...) serve as a model of reality. My work concentrates on three pillars of the logic of the Tractatus: the picture theory, negation as "reversal of sense," the independence of elementary propositions. Using a simple scenario of the ordering of objects or letters on a line, I examine the conflict generated by the attempt to adequately accommodate all three themes and offer my own solution. My solution brings implications to the problem of negation and to the Tractatus's thesis that the possibilities of logical space are spanned by the possible configurations of the ultimately simple objects. One such implication, which stands in contrast to the common reading, is that in atomic facts we have 'complex objects' as constituents. ;The resolution offered, furthermore, exposes an intrinsic difficulty in the Tractatus, for which I have reserved the term arbitrary choice. The difficulty is manifested in the lack of assurance---from the perspective of logic---that a concept-word will preserve its 'standard' meaning when it is reapplied or when its scope of application varies. In this I uncover the seed of central themes in Wittgenstein's later philosophy, e.g. the rule-following argument, as present already in the Tractatus. ;In the concluding chapter, I suggest a new account for the nature of the proposition by connecting the analysis offered in the Tractatus with the subject of time and motion. The picture with which the work concludes then considers language not as corresponding to reality, but as engaged or synchronized with reality---if you will, it is a picture of language and reality in a dance. (shrink)

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary (...) social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate that (...) motion is really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

In this essay I show that texts by early Caribbean women writers, such as the Wonderful Adventures of Mrs. Seacole in Many Lands, reveal and resist the effects of colonial paradigms by leaving textual traces of how such paradigms can effectively be countered and overturned. I arrive at such a reading of Seacole via an analysis of Frantz Fanon's reading of Mayotte Capécia's turn-of-the-century novel, Je suis martiniquaise, in light of advances in postcolonial and feminist theory. I argue that doing (...) so can bring us to recognize the contributions that early writings by Caribbean women have made to a broader understanding of the nature of being, across differences of “race,” class, and geography. I consider how we might recover in Capécia important models that Fanon himself replicates, yet dismisses, that predate Capécia's own text and that can be located in a text like Seacole's. In the end, I come to contend that Mary Seacole's text is more than a mere record of a “free colored” woman's life in the second half of the nineteenth century. It is, to use today's postcolonial parlance, an interventionist, hybrid text that attempts to subvert dominant discourse while participating in its circuits. (shrink)

Boys, Boyz, Bois concerns questions of ethics, gender and race in popular American images, national discourse and cultural production by and about black men. The book proposes an ethics of masculinity, as ethnics refers to a system of morality and valuation and as ethics refers to a care of the self and ethical subject formation. The texts of analysis include recent films by black/African American filmmakers, gansta rap and hip-hop and black star persona: texts ranging from Blaxploitation and New Black (...) Cinema to contemporary music video to autobiography and the public image of Sidney Poitier. The book is a significant contribution to cultural studies and gender studies and critical race theory. What is distinctive about the book is the question of ethics as a question of race and gender. (shrink)

Previous research has demonstrated that duration of implied motion (IM) was dilated, whereas hMT+ activity related to perceptual processes on IM stimuli could be modulated by their motion coherence. Based on these findings, the present study aimed to examine whether subjective time perception of IM stimuli would be influenced by varying coherence levels. A temporal bisection task was used to measure the subjective experience of time, in which photographic stimuli showing a human moving in four directions (left, right, (...) toward, or away from the viewer) were presented as probe stimuli. The varying coherence of these IM stimuli was manipulated by changing the percentage of pictures implying movement in one direction. Participants were required to judge whether the duration of probe stimulus was more similar to the long or short pre-presented standard duration. As predicted, the point of subjective equality was significantly modulated by the varying coherence of the IM stimuli, but not for no-IM stimuli. This finding suggests that coherence level might be a key mediating factor for perceived duration of IM images, and top-down perceptual stream from inferred motion could influence subjective experience of time perception. (shrink)

How do we understand the roots of modern identities and subjectivities (citizen, labour migrant, artist, member of a global faith community) and the cosmopolitan imaginaries and practices embraced and generated in the Asia Pacific region? Writing from a range of disciplines, and diverse sites, the authors explore the ways in which identities are recognized and contested, subjectivities dislodged and reconstituted in the contemporary world, and the role of dialogic scholarly practices in engaging, stimulating and promoting emergent subjectivities and identities.

Subject relative clauses (SRCs) are typically processed more easily than object relative clauses (ORCs), but this difference is diminished by an inanimate head‐noun in semantically non‐reversible ORCs (“The book that the boy is reading”). In two eye‐tracking experiments, we investigated the influence of animacy on online processing of semantically reversible SRCs and ORCs using lexically inanimate items that were perceptually animate due to motion (e.g., “Where is the tractor that the cow is chasing”). In Experiment 1, 48 children (aged (...) 4;5–6;4) and 32 adults listened to sentences that varied in the lexical animacy of the NP1 head‐noun (Animate/Inanimate) and relative clause (RC) type (SRC/ORC) with an animate NP2 while viewing two images depicting opposite actions. As expected, inanimate head‐nouns facilitated the correct interpretation of ORCs in children; however, online data revealed children were more likely to anticipate an SRC as the RC unfolded when an inanimate head‐noun was used, suggesting processing was sensitive to perceptual animacy. In Experiment 2, we repeated our design with inanimate (rather than animate) NP2s (e.g., “where is the tractor that the car is following”) to investigate whether our online findings were due to increased visual surprisal at an inanimate as agent, or to similarity‐based interference. We again found greater anticipation for an SRC in the inanimate condition, supporting our surprisal hypothesis. Across the experiments, offline measures show that lexical animacy influenced children's interpretation of ORCs, whereas online measures reveal that as RCs unfolded, children were sensitive to the perceptual animacy of lexically inanimate NPs, which was not reflected in the offline data. Overall measures of syntactic comprehension, inhibitory control, and verbal short‐term memory and working memory were not predictive of children's accuracy in RC interpretation, with the exception of a positive correlation with a standardized measure of syntactic comprehension in Experiment 1. (shrink)

Introduction -- Time and matter: temporality, embodied subjectivity and film phenomenology -- Knowing and nothing: Chris Marker, subjective temporalities and vocalic bodies in the future tense -- Agnès Varda's Trinket box: subjective relationality, affect and temporalised space -- Burlesque gestures and bodily attention: phenomenologies of the ephemeral in Chantal Akerman -- Threatened corporealities: thinking with the films of Philippe Grandrieux -- Conclusion: rethinking cinematic subjectivity and beyond.

The objective in the present paper is to analyze the aspect of subjectivity having to do with construing motion and change where no motion and change exists outside the representation, that is, in cases where the conceptualizer does not intend to convey the idea that these properties exist in the state of affairs described. In the process of doing so, I will elaborate on a critique of the notion of fictivity as it is currently being used in (...) cognitive linguistics. (shrink)

Norbert Elias’s project in The process of civilization involved reconstructing invisible movement—both the slow tempoof long-term historical change and the modification of psychic structures and embodied dispositions. To do this, he resorted to uncommon devices: treating historical texts as constituting a series amenable to a rudimentary discourse analysis, he constructed an imagined ‘curve of civilization’ serving as an approximation of the hidden process of change. Elias’s curve was not supposed to represent single past states, but movement itself, its direction and (...) pace. This novel concept of historical representation was related to the perception of cinema as a new medium making actual movement visible. But beyond making it possible to imagine how one could telescope long-term historical process, cinema also held the promise of serving as a microscope, making the minute movements of the human body, gestures and manners available for close inspection. While anthropologists were devising ways of using the new medium to document fleeting gestures and bodily postures, it was used by popular audiences as a source for remodelling behaviour and acquiring polite manners and body techniques, as noticed by such acute observers as Marcel Mauss and Joseph Roth. Hence, popular appropriation of the cinema gave rise to a heightened awareness of the historicity of gestures and the changing modalities of their transmission. Cinema was itself part of the accelerated motion of history, of a perceived change of pace in the process of civilization, which in its turn shed light on its historical antecedents and played an essential role in rethinking the notion of civilization and culture.Keywords: Norbert Elias; Marcel Mauss; Joseph Roth; Cinema; Gestures; Body; Discourse; Historiography; Sociology of culture. (shrink)

This book provides an answer to the question: «Where does the point-of-view shot come from?» It investigates the emergence of this filmic form as the product of a culture and its history, unravelling the difference between a point-of-view shot and a character's subjective viewpoint.

This book is about film's encounter with love throughout the medium's history. It is also about the philosophy of love... [it] outlines a new metaphysics and ontology of love as a reciprocal erotic relationship. This study argues that film's special narrative language is particularly well suited to depicting love in this way. It begins with early silent directors, such as Joseph von Sternberg, and concludes with contemporary filmmakers, such as Sophia Coppola; it also compares classical French and American love films (...) of the 1940s with modernist films by Luis Buñuel, François Truffaut, and Wong Kar Wai, amongst many others"--Page [4] of cover. (shrink)

Introduction : heroes like us -- Hegel, the western and classical modernity -- The myth and the frontier -- The hero in the epochs of mythical and the bourgeois -- The end of the individual -- The end of the subject -- Romanticism, crime and agonal modernity -- The return of tragedy in modernity -- Heroes of coolness and the ironist -- Nietzsche, science fiction and hybrid modernity -- Heroic individualismus and metaphysics -- Superhumans, supermen, cyborgs -- Heroes of the (...) future. (shrink)

The paper sketches the place of dynamic semantics within a broader picture of developments in philosophical and linguistic theories of meaning. Some basic concepts of dynamic semantics are illustrated by means of a detailed analysis of anaphoric definite and indefinite descriptions, which are treated as contextually dependent quantificational expressions. It is shown how a dynamic view sheds new light on the contextual nature of interpretation, on the difference between monologue and dialogue, and on the interplay between direct and indirect information.

The book addresses how music (especially opera), the phonograph, and film served as cultural agents facilitating the many extraordinary social, artistic, and cultural shifts that characterized the nascent twentieth century and much of what followed long thereafter, even to the present. Three tropes are central: the tensions and traumas---cultural, social, and personal---associated with modernity; changes in human subjectivity and its engagement and representation in music and film; and the more general societal impact of modern media, sound recording (the development (...) of the phonograph in particular), and the critical role played by early-century opera recording. A principal focus of the book is the conflicted relationship in Western modernity to nature, particularly as nature is perceived in opposition to culture and articulated through music, film, and sound as agents of fundamental, sometimes shocking transformation. The book considers the sound/vision world of modernity filtered through the lens of aesthetic modernism and rapid technological change, and the impact of both, experienced with the prescient sense that there could be no turning back"--Provided by publisher. (shrink)

This collection examines the peculiarly modern phenomena of voyeurism as it is experienced through the digital screen. Violence, voyeurism, and power populate film more than ever, and the centrality of the terrified body to many digital narratives suggests new forms of terror and angst, where bodies are subjected to an endless knowing look. The particular perils of the digital age can be seen on, by, and through screen bodies as they are made, remade, represented, and used. The essays in this (...) book examination the machinations of voyeurism in the digital age and the realization of power through digital visual forms. They look at the uses of power over the female body, at the domination and repression of women through symbolic violence, at discourses of power as they are played out onscreen, and at how the digital realm might engage the active/passive dichotomy in new ways."-Provided by publisher. (shrink)

A COMPANION TO MOTION PICTURES AND PUBLIC VALUE A Companion to Motion Pictures and Public Value brings together original essays by world-renowned scholars investigating the varied intersections of the moving image and the public good. Covering a wide range of types and genres of cinema, this unprecedented volume explores the past, present, and possible future contributions of motion pictures to public value. With a cross-disciplinary approach, the text presents original conceptual work, global perspectives, philosophical arguments, historical discussion, (...) empirical research, and specific case studies of the direct and indirect public value developed through motion pictures. Organized into seven thematic sections, this Companion identifies and discusses the various kinds of values that motion pictures can deliver, including artistic and aesthetic, ethical and moral, spiritual and religious, cultural, environmental, political, and cognitive. Throughout the text, readers are provided with deep insight into the issue of public value as it relates to cinema and its positive impact on human life and society. A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines. (shrink)

The body at close range: volume and the unlistenable in Catherine Breillat's Anatomy of Hell -- Sonic subjection: Gaspar Noé's Irreversible and the dystopian limits of the resonant body -- A stranger everywhere: the écho-monde of Tony Gatlif's Exiles -- Feedback, asynchronicity, and sonic sociabilities: Arnaud des Pallière's Adieu -- Listening at the limit: non-human noise in Lars von Trier's Antichrist -- Listening to things: Foley as "alien phenomenology" and Peter Strickland's Berberian sound studio.

Syntactic templates serve as schemas, allowing speakers to describe complex events in a systematic fashion. Motion events have long served as a prime example of how different languages favor different syntactic frames, in turn biasing their speakers toward different event conceptualizations. However, there is also variability in how motion events are syntactically framed within languages. Here, we measure the consistency in event encoding in two languages, Spanish and Swedish. We test a dominant account in the literature, namely that (...) variability within a language can be explained by specific properties of the events. This event-properties account predicts that descriptions of one and the same event should be consistent within a language, even in languages where there is overall variability in the use of syntactic frames. Spanish and Swedish speakers (N= 84) described 32 caused motion events. While the most frequent syntactic framing in each language was as expected based on typology (Spanish: verb-framed, Swedish: satellite-framed, cf. Talmy,2000), Swedish descriptions were substantially more consistent than Spanish descriptions. Swedish speakers almost invariably encoded all events with a single syntactic frame and systematically conveyed manner of motion. Spanish descriptions, in contrast, varied much more regarding syntactic framing and expression of manner. Crucially, variability in Spanish descriptions was not mainly a function of differences between events, as predicted by the event-properties account. Rather, Spanish variability in syntactic framing was driven by speaker biases. A similar picture arose for whether Spanish descriptions expressed manner information or not: Even after accounting for the effect of syntactic choice, a large portion of the variance in Spanish manner encoding remained attributable to differences among speakers. The results show that consistency in motion event encoding starkly differs across languages: Some languages (like Swedish) bias their speakers toward a particular linguistic event schema much more than others (like Spanish). Implications of these findings are discussed with respect to the typology of event framing, theories on the relationship between language and thought, and speech planning. In addition, the tools employed here to quantify variability can be applied to other domains of language. (shrink)

Emotions play at least three key roles in cinema. First, many motion pictures present highly emotional situations, involving characters who fall in love, who endure unbearable loss, and who become hell-bent on revenge. To make sense of movies, we must identify the emotions that drive their characters. Second, motion pictures seem to arouse emotions. We go to tearjerkers that make us cry, splatter films that make us writhe, and action films that keep us at the edges of our (...) seats. Third, these emotional experiences are, ostensibly, part of cinema’s allure; we value movies that evoke strong feelings. One might summarize these three observations by saying that movie-going involves emotion attribution, arousal, and motivation. Each of these has been a domain of philosophical contestation. How are emotions attributed when experiencing a cinematic fiction? Are genuine emotions really aroused? And do emotional experiences really bring us to the box office? This discussion explores controversies along these three dimensions. (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

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 addressed include the objectivity of documentary films, fear (...) of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

Hegel, the western and classical modernity. The myth and the frontier ; The hero in the epochs of mythical and the bourgeois ; The end of the individual ; The end of the subject -- Romanticism, crime and agonal modernity. The return of tragedy in modernity ; Heroes of coolness and the ironist -- Nietzsche, science fiction and hybrid modernity. Heroic individualismus and metaphysics ; Superhumans, supermen, cyborgs ; Heroes of the future.

Hunter Vaughan interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles Deleuze's image-philosophy, Vaughan applies a rich theoretical framework to a comparative analysis of Jean-Luc Godard's films, which critique the audio-visual illusion of empirical observation (objectivity), and the cinema of Alain Resnais, in which the sound-image generates innovative portrayals of individual experience (subjectivity). Both filmmakers radically upend conventional film practices and challenge philosophical traditions to alter our (...) understanding of the self, the world, and the relationship between the two. Films discussed in detail include Godard's _Vivre sa vie_ (1962), _Contempt_ (1963), and _2 or 3 Things I Know About Her_ (1967); and Resnais's _Hiroshima, mon amour_ (1959), _Last Year at Marienbad_ (1961), and _The War Is Over_ (1966). Situating the formative works of these filmmakers within a broader philosophical context, Vaughan pioneers a phenomenological film semiotics linking two disparate methodologies to the mirrored achievements of two seemingly irreconcilable artists. (shrink)

This article examines a small subset of late antique veil imagery – depictions and descriptions of veils in motion – in visual and literary sources including churches, synagogues, and descriptions of the veil of the temple in Jerusalem. Architectural veils played a role in the demarcation of space, the creation of spectacle and sacrality, and the orchestration of social relations and hierarchies. By exploring the ways in which late ancient subjects envisioned, encountered, and “thought with” veils, we can chart (...) the ways that dynamics of covering and uncovering, sight and secrecy, and vision and touch, converged with ideas about gender, desire, and the sacred. (shrink)

Designed for classroom use, this authoritative anthology presentskey selections from the best contemporary work in philosophy offilm. The featured essays have been specially chosen for theirclarity, philosophical depth, and consonance with the current movetowards cognitive film theory Eight sections with introductions cover topics such as thenature of film, film as art, documentary cinema, narration andemotion in film, film criticism, and film's relation to knowledgeand morality Issues addressed include the objectivity of documentary films,fear of movie monsters, and moral questions surrounding the (...) viewingof pornography Replete with examples and discussion of moving picturesthroughout. (shrink)

This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new (...) insights into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. (shrink)

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 communicative nature of embodied vision (...) also figures into play. The principal phenomenological frameworks taken up are those of Edmund Husserl, Martin Heidegger, and Maurice Merleau-Ponty, as well as the work of contemporary film scholar Vivian Sobchack. (shrink)

The paper sketches the place of dynamic semantics within a broader picture of developments in philosophical and linguistic theories of meaning. Some basic concepts of dynamic semantics are illustrated by means of a detailed analysis of anaphoric definite and indefinite descriptions, which are treated as contextually dependent quantificational expressions. It is shown how a dynamic view sheds new light on the contextual nature of interpretation, on the difference between monologue and dialogue, and on the interplay between direct and indirect information.

This essay examines mimetic pictures and the forms of subjectivity encoded in them. Mimetic pictures are representations which are unique in looking like the objects or events they depict. However, the objects or events typically have properties which are incompatible with those of the picture considered as a material artifact. Thus, if a mimetic picture looks like what it depicts, it does not look like what, considered as an artifact, it is. Since seeing a mimetic picture as a picture (...) is seeing what it looks like, it seems to follow that seeing a mimetic picture entails not seeing its material properties. But this is a paradox: it suggests that looking at mimetic pictures means not seeing what is being looked at. My aim is to resolve this paradox. ;This goal is pursued by exploring the forms of subjectivity historically attributed to the spectator of mimetic pictures. Three theorists are examined: Leon Battista Alberti, John Locke, and E. H. Gombrich. While their positions are tied to the forms of pictorial practice central to their respective historical contexts, they share a common attitude toward the paradox of pictoriality: they explain mimetic appearance as an illusion produced in the seeing subject by the picture. This commonality suggests a consistent attitude toward pictorial appearance from the Renaissance to the present; I analyze this attitude, arguing that the concept of illusion, rather than helping us grasp the forms of subjectivity encoded in pictures, obscures it. ;The essay concludes by proposing that cultures of mimesis produce a complex visual activity of recognition and disavowal which I call "fascination". I defend the thesis that mimetic pictures do not induce illusions but are displays in which the social dynamic of illusion is witnessed. This thesis is combined with Lacan's theory of the gaze to redefine mimetic pictures as theatrical entities exhibiting the social interaction of desire and visual appearance. As theatrical, pictures elicit a mode of reflective subjectivity rather than deceiving a pre-reflective spectator. This thesis resolves the paradox of mimetic pictures by analyzing their apparent possession of incompatible properties as a sign that pictures are artifacts in which the social and relational nature of appearance itself can be seen. (shrink)

Even simple geometric shapes are seen as animate and goal-directed when they move in certain ways. Previous research has revealed a great deal about the cues that elicit such percepts, but much less about the consequences for other aspects of perception and cognition. Here we explored whether simple shapes that are perceived as animate and goal-directed are prioritized in memory. We investigated this by asking whether subjects better remember the locations of displays that are seen as animate vs. inanimate, con- (...) trolling for lower-level factors. We exploited the ‘Wolfpack effect’: moving darts (or discs with ‘eyes’) that stay oriented toward a particular target are seen to be actively pursuing that target, even when they actually move randomly. (In contrast, shapes that stay oriented perpendicular to a target are correctly perceived to be drifting randomly.) Subjects played a ‘matching game’ – clicking on pairs of panels to reveal animations with moving shapes. Across four experiments, the locations of Wolfpack animations (compared to control animations equated on lower-level visual factors) were better remembered, in terms of more efficient matching. Thus perceiving animacy influences subsequent visual memory, perhaps due to the adaptive significance of such stimuli. (shrink)

In works of literary fiction, it is a part of the fiction that the words of the text are being recounted by some work-internal 'voice': the literary narrator. One can ask similarly whether the story in movies is told in sights and sounds by a work-internal subjectivity that orchestrates them: a cinematic narrator. George M. Wilson argues that movies do involve a fictional recounting (an audio-visual narration ) in terms of the movie's sound and image track. Viewers are usually (...) prompted to imagine seeing the items and events in the movie's fictional world and to imagine hearing the associated fictional sounds. However, it is much less clear that the cinematic narration must be imagined as the product of some kind of 'narrator' - of a work-internal agent of the narration. Wilson goes on to examine the further question whether viewers imagine seeing the fictional world face-to-face or whether they imagine seeing it through some kind of work-internal mediation . It is a key contention of this book that only the second of these alternatives allows one to give a coherent account of what we do and do not imagine about what we are seeing on the screen. Having provided a partial account of the foundations of film narration, the final chapters explore the ways in which certain complex strategies of cinematic narration are executed in three exemplary films: David Fincher's Fight Club , von Sternberg's The Scarlet Empress , and the Coen brothers' The Man Who Wasn't There. (shrink)

James A. Diefenbeck, Wayward Reflections on the History ofPhilosophyThomas R. Flynn Sartre, Foucault and Historical Reason. Volume 1:Toward an Existential Theory of HistoryMark Golden and Peter Toohey Inventing Ancient Culture:Historicism, Periodization and the Ancient WorldZenonas Norkus Istorika: Istorinis IvadasEverett Zimmerman The Boundaries of Fiction: History and theEighteenth‐Century British Novel.

In Topoi/Graphein Christian Abrahamsson maps the paradoxical limit of the in-between to revealthat to be human is to know how tolive with the difference between the known and the unknown. Using filmic case studies, including CodeInconnu, Lord of the Flies, and Apocalypse Now,and focusing on key concerns developed in the works of the philosophers Deleuze, Olsson, and Wittgenstein, Abrahamsson starts within the notion of fixed spatiality, in whichhuman thought and action are anchored in the given of identity. He then movesthrough (...) a social world in which spatiotemporal transformations are neitherfixed nor taken for granted. Finally he edges into the pure temporality that liesbeyond the maps of fixed points and social relations. Each chapter is organized into two subjects: topoi, orexcerpts from the films, and graphein, the author's interpretation ofpresented theoriesto mirror the displacements,transpositions, juxtapositions, fluctuations, and transformations between delimited categories. A landmark work in the study of human geography, Abrahamsson's book proposes that academic and intellectual attention should focus on the spatialization between meaning and its materialization in everyday life. (shrink)

This book explores Gilles Deleuze's contribution to film theory. According to Deleuze, we have come to live in a universe that could be described as metacinematic. His conception of images implies a new kind of camera consciousness, one that determines our perceptions and sense of selves: aspects of our subjectivities are formed in, for instance, action-images, affection-images and time-images. We live in a matrix of visual culture that is always moving and changing. Each image is always connected to an assemblage (...) of affects and forces. This book presents a model, as well as many concrete examples, of how to work with Deleuze in film theory. It asks questions about the universe as metacinema, subjectivity, violence, feminism, monstrosity, and music. Among the contemporary films it discusses within a Deleuzian framework are Strange Days, Fight Club, and Dancer in the Dark. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary (...) value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 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 addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

Along the path opened by Galileo’s mechanics, early modern mechanical philosophy provided the metaphysical framework in which ‘matter in motion’ underwent a process of reduction to mathematical description and to physical explanation. The struggle against the monstrous contingency of matter in motion generated epistemological monsters in the domains of both the natural and civil science. In natural philosophy Descartes’s institution of Reason as a disembodied subject dominated the whole process. In political theory it was Hobbes who opposed the (...) artificial unity of the body politic to the monstrous multiplicity of the multitude. Through a parallel analysis of the basic structure of Descartes’s and Hobbes’s enterprises, this article explains in which sense Hobbes’s peculiar form of materialism is in fact to be considered a surreptitious reduction of materialism to its ideological counterpart, Cartesian dualism, and to its implicit political-pedagogical project. (shrink)

This book is a critical attempt to approach world cinema in a new global frame that updates the national frame of territorial cinemas and the transnational frame of their interplay. The global frame implies the reintegration of border-crossing forces onto the postpolitical plane of troubled globalization with two ethical facets: the soft ethical inclusion of differences in multicultural, neoliberal systems and their hard ethical symptoms of fundamentalist exclusion and terror. Reflecting both, global cinema is formulated as staging crucial challenges that (...) today's globalism and its antinomies bring to the notions of subjectivity and community. Many films indeed depict the antagonism between the inclusive global system and its excluded remnants, allegorizing the impossible political change in various modes of catastrophe and nihilism. A global community often takes on a totalized network of sovereign violence and (counter)terror stuck in the impasse of utopian imagination. Yet some films suggest alternative ethics irreducible to collective politics when abject figures, deprived of social subjectivity and rights, become contingent agents of existential 'gift-giving' by fostering commonality without community, solidarity without unity. The psychoanalytic notion of abjection is redefined here as both the biopolitical mode of bare life and its potential for the ethical agency that opens atopian, if not utopian, networking on the edge of the global regime beyond the problematic 'soft/hard' ethics of tolerance/violence or pity/hate. This precarious yet precious abject agency is explored through a vast net of globally circulating contemporary films and a core cluster of political, ethical, and psychoanalytic philosophies. (shrink)

The author analyzes the theme of painting in the philosophy of Jacques Derrida, referring to one of his defining works on this subject: "Truth in Painting". Consistently considering the four-part structure of this book, the author touches on such concepts of deconstruction as "parergon", "passepartout", "cartouche" and others. Of particular interest is the problem of truth in the structure of fine art – this topic is a cross-cutting theme throughout Derrida's work. At the same time, the philosopher rejects the classical (...) ontological-epistemological aspect of truth in the context of art history. The picture does not limit itself to the representation of an object or the truth attached to it. She crosses the line, overflowing her boundaries. That is why the logic of a work of art is inevitably the logic of a Kantian parergon. In the book "Truth in Painting" Derrida rethinks all aspects of artistic creativity. For Derrida, painting is, first of all, an action and the most correct question is: "What does this painting do?". The picture in the produced action breaks away from the conditions of the image, moves away from the discourse, setting in motion the difference. The structure of a painting work consists not of presence or representation, but of a projection of movement. The painting is silent and remains outside the language, is unrepresentable and heterogeneous, is out of line with any discourse, is irreducible to any text and is not subject to archiving despite all the efforts of museum authorities. (shrink)