Film Media

A photographic image is said to provide evidence of a photographed scene because it is a causal imprint of reflected light, an indexical trace of real objects and events. Though widely established in the history, theory, and philosophy of photography, this traditional imprinting model must be rejected because it relies on a “single-stage” misconception of the photographic process: the idea that a photographic image comes into existence at the time of exposure. In its place, a “multistage” account properly articulates different (...) production stages, such as registering and rendering, that are relevant to understanding the relation between a photographic image and the photographed scene. By denying that any photographic image is a causal imprint, the multistage approach proposes a more demanding evaluation of photographic evidence. This has implications for documentary film and photojournalism, along with specialized applications such as forensics, surveillance, and face-recognition technology. (shrink)

Although it is an emerging research field, the philosophy of film has a long tradition of investigating the complex relationship between painting and film, with a special focus on films about painting: on how the two art forms encounter each other from a spatial and temporal perspective. In addition, the field has long explored the ways in which films represent the modern city. From the beginning, film has been associated with the representation of the modern city and of other art (...) forms. Focusing on O Pintor e a Cidade/The Artist and the City (1956) by Manoel de Oliveira (1908–2015), and grounded in Gilles Deleuze’s philosophy of film, the following touches on both of these themes. The Artist and the City is a short documentary on António Cruz (1907–1983)—a watercolorist known for his landscapes of Porto—the subject of which is not only the painter’s life and work but also the city itself, as its title suggests. As the following will show, the film offers a twofold representation of the city: that provided by Manoel de Oliveira, and that provided by the subject of the documentary, António Cruz. (shrink)

Introduction -- Against house arrest -- Digital impressions: writing memory after Agnès Varda -- Folding time: toward a new theory of montage -- Archiving disappearance: from Michelangelo Antonioni to new media.

Introduction -- the medium-interface -- The body-interface -- The surface of the object -- The face of the subject -- Image and subjectivity -- Conclusion.

Introduction -- Chapter 1: Digital cinema's conquest of space -- Chapter 2: The nonanthropocentric character of digital cinema -- Chapter 3: From temporalities to time in digital cinema -- Chapter 4: The film-spectator-world assemblage -- Chapter 5: Concluding with love.

This book contributes to the analysis of film from a multimodal and textual perspective by extending formal semantics into the realm of multimodal discourse analysis. It accounts for both the inferential as well as intersemiotic meaning making processes in filmic discourse and therefore addresses one of the main questions that have been asked within film theory and multimodal analysis: How do we understand film and multimodal texts? The book offers an analytical answer to this question by providing a systematic tool (...) for the description of this comprehension process. It aims to advance knowledge of the various resources in filmic texts, the ways the resources work together in constructing meaning and the ways people understand this meaning construction. This new approach to film interpretation is thus able to remodel and improve the classical paradigm of film text analysis. (shrink)

The paper leans on a movie cult from the 1960s, Blow-Up (1966) by Michelangelo Antonioni, of which a famous sequence is often mentioned, the one in which the protagonist, the photographer Thomas (considered here as a "conceptual character"), repeatedly enlarged the photographs he made in a park, in order to find an answer to the mystery surrounding the murder of a man: magnification which leads, on the one hand, to a gradual loss of definition of images, with the grain of (...) the picture becoming more and more evident, but also, on the other, in the emergence, from the very material of the print, of a fundamental detail that will help solve the mystery. What interests is the link between indicative referentiality and evidence documentary, between degrees of definition and authentication powers. The paper also analyzes the links that intertwine, in the film, between the photographs of Thomas (by Don McCullin) and paintings painted by another character of the movie, Bill (directed by Ian Stephenson), but also, outside the film, with all a series of examples from artistic production and visual culture of the time: very low definition images of the Kennedy assassination in Dallas (the famous Zapruder Film), the portrait of Lee Harvey Oswald directed by Sigmar Polke by simulating the halftone technique, the war photographs of Don McCullin and David Bailey's Fashion Photographs, Random Earths Studies by Mark Boyle and Joan Hills, Materialologies and Texturologies by Jean Dubuffet, as well as Zen for Film by Nam June Paik. Fimiani's text addresses also two contemporary installations which have tried to return to the issues from the photographic sequence of Antonioni's film: Blow-Up Blow-Up (2010) by Joan Fontcuberta and Portrait Landscape (from the Object Classifier series) (2015) by John Houck, an installation in which photograms of Blow-Up are analyzed through facial recognition software. (shrink)

In this article I investigate online misinformation from a media philosophy perspective. I, thus move away from the debate focused on the semantic content, concerned with what is true or not about misinformation. I argue rather that online misinformation is the effect of an informational climate promoted by user micro-behaviours such as liking, sharing, and posting. Misinformation online is explained as the effect of an informational environment saturated with and shaped by techno-images in which most users act automatically under the (...) constant assault of stirred emotions, a state resembling what media philosopher Vilém Flusser has called techno-magical consciousness. I describe three ways in which images function on social media to induce this distinctive, uncritical mode of consciousness, and complement Flusser’s explanation with insights from the phenomenology of emotions. (shrink)

How can one make sense of our current political, ecological and technological dilemmas through the lens of Grant Sputore’s I Am Mother (2019)? Well-received, the film has been commended for its account of the increasing role and impact of artificial intelligence and its relation to our ongoing ecological dilemmas and potential catastrophe. While these issues are played-out through the on-screen relationship between robotic mother and human daughter, the film can also be used to help shed light on our current ideological (...) predicaments. With a narrative that steers towards our preference for cynical detachment, apathy and resignation, this review draws upon Lacan’s notion of the big Other, and its relation to the subject, in order to provide further discussion on the film’s ambiguous ending and the deeper sense of impotence that it accurately portrays with regards to our current political malaise. (shrink)

Film perception and cognition research, as interdisciplinary research lags behind the curve on issues, methods, and trends found important by its adjacent disciplines, such as film, communication, and psychology. It provides a scientific perspective for exploring the fundamental analysis issues to evaluate the film’s endogenous structure and exogenous power in the audience. It will mount the position of Chinese film research around the world by integrating the multidisciplinary theories and practice. 对目前中国电影研究学科性反思的提出，不仅是一种学术研究的重新审视，也是面临世界电影格局重组的根本应对策略。面对经济和文化等方面的冲击，中国电影研究需要顺应发展趋势：从传统的理论性研究汇入创作实践与理论 体系交融的大方向，从单一的学科研究转向到跨学科的探索。电影感知研究正是解决电影跨学科问题的最佳研究方法，它将传统电影研究与其他学科的现实经验相结合，可以从根本上推进中国电影研究以及实践在世界电影产业舞 台上的位置。.

In this article the public-theological motives in the film As it is in heaven is analised to demonstrate the film producer Kay Pollack's ideal to communicate through the film that people should live their lives here and now authentically without seeking excuses for being happy. In this article the principles of narratology is applied in the analysis of the film's plot, characterisation, plotted time and narrated spaces. It is also argued that the protagonist in the film can be regarded as (...) a 'Christ-figure' and that the film conveys a 'Christ narrative' in a secularised context. Societal issues such as emotional abuse and violence against children, women, people with disability and animals constitute building blocks of the narrative. Ecclesiastical hypocrisy and outdated sexual values endorsed by the institutional church are replaced by a choir consisting of common people which leads a whole world to sing in harmony. (shrink)

The ubiquity of gender-bending and sexually ambiguous imagery in the media seems to herald a post-gay era. But are LGBT/Q identities and representation politics really a thing of the past? Inspecti...

This article argues that the mid-1960s saw a dramatic shift in how ‘brainwashing’ was popularly imagined, reflecting Anglo-American developments in the sciences of mind as well as shifts in mass media culture. The 1965 British film The Ipcress File provides a rich case for exploring these interconnections between mind control, mind science and media, as it exemplifies the era’s innovations for depicting ‘brainwashing’ on screen: the film’s protagonist is subjected to flashing lights and electronic music, pulsating to the ‘rhythm of (...) brainwaves’. This article describes the making of The Ipcress File’s brainwashing sequence and shows how its quest for cinematic spectacle drew on developments in cybernetic science, multimedia design and modernist architecture. I argue that often interposed between the disparate endeavours of 1960s mind control, psychological science and media was a vision of the human mind as a ‘cybernetic spectator’: a subject who scrutinizes how media and other demands on her sensory perception can affect consciousness, and seeks to consciously participate in this mental conditioning and guide its effects. (shrink)

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 whether the power of cinema derives from (...) its similarity to dreams. (shrink)

The word ‘genius’ is often associated with the idea that artistic creativity is entirely a matter of an involuntary sort of inspiration visited upon the individual artist. My aim in referring to cinematic genius is not, however, to defend that dubious thesis, but to direct attention to the remarkable artistic achievements that some film-makers, working individually or in collaborative teams, have managed to bring about in their intentional and often painstaking creation of cinematic works. Genius, as I understand it, is (...) the exceptional ability to do something difficult, such as the intentional making of an innovative and valuable work of art. My central claim in what follows is that our longstanding and legitimate interest in manifestations of this kind of skill has important implications for a number of interrelated issues in the philosophy of art, and in particular, for some of the questions taken up in the ever-expanding literature on the ontology of works of art. (shrink)

Carl Schmitt was a jurist, political philosopher, and a devoted student of Thomas Hobbes. Schmitt lived from 1888 to 1985 in Germany, and for a time enjoyed with Martin Heidegger the right to create under Hitler a new spiritual German state. Both men shared enduring veneration, admiring pilgrimages, and remain sources of political and philosophical discussions and interpretation. Recently, three of Schmitt’s books were added to the one already available in English, The Concept of the Political. Most of Schmitt’s books (...) are pamphlets addressing particular subjects, which were important at the time they were written. The interest we have in Schmitt today could not be easily evaluated if we were to turn to his books for historical information. He has written on topics that would interest the constitutional jurist and the political philosopher, but they are not vital books and, if lost, there would be little weeping. We write about Schmitt because we want to show the danger of every political philosophy that claims for its hypothesis scientific data. His theory of humankind is reduced to the problem of evil and his concepts of reality claim that realism, the analysis of what is, is eternally timed and fatefully structured. We read such realists with pleasure because they seem to satisfy our need to see our fellow human beings in the most dismal light. We read them with disdain because we are naturally idealistic and believe that we are condemned to no given condition, and that ideals are not absent from reality, but are the source of its evaluation and the power of its transformation. We read Hobbes and find him perceptive and insightful, for example when he tells us: “I put for a general inclination of all mankind a perpetual and restless desire of power after power that ceaseth only in death”. We seem to find much that is true and valuable. There is much that is absent if we believe that people and communities have always believed that reason and the reasonable force them to find differences between the good and the evil, between the truth and the lie, between the just and the unjust. The deepest difference lies between the philosopher of reason, or the speculative philosopher, and the political thinker who refuses to draw a distinction between what exists and what should exist, i.e., the thinker who absolutizes the given and values only what is suitable to it. (shrink)

Patroni, Steve Review of: Oh! What a lovely war, directed by Richard Attenborough.

The purpose of this paper is to investigate the relationship between German Expressionist film and Hegel’s system of aesthetics. Through an analysis of the aesthetic qualities of Hanns Ewers’ The Student of Prague and F.W. Murnau’s Faust, I believe we have evidence to believe that the subjectivity that German Expressionist film sought to capture is aligned with the ‘interiority’ that Hegel believes Romantic art expresses. Further, I will consider whether these two films indicate that film as an artistic medium falls (...) within Hegel’s characterization of Modern art. I believe that because both Student of Prague and Faust use elements of Romantic art in an effort to convey the melancholy spirit, and that the melancholy spirit is reflection and product of a uniquely modern Germany, these films indicate that film as a medium fulfill the requirements Hegel sets for Modern art. (shrink)

Amy Coplan argues that recent work in the philosophy of the emotions suggests that film is more effective that literature in inducing non-cognitive affect. Derek Matravers replies to this, and suggests reasons for scepticism.

This collection fills a gap in the current literature in philosophy and film by focusing on the question: How would thinking in philosophy and film be transformed if race were formally incorporated moved from its margins to the center? The collection’s contributors anchor their discussions of race through considerations of specific films and television series, which serve as illustrative examples from which the essays’ theorizations are drawn. Inclusive and current in its selection of films and genres, the collection incorporates dramas, (...) comedies, horror, and science fiction films into its discussions, as well as recent and popular titles of interest, such as _Twilight_, _Avatar_, _Machete_, _True Blood_, and _The Matrix _and _The Help_. The essays compel readers to think more deeply about the films they have seen and their experiences of these narratives. (shrink)

A critical review essay dealing with three major publications in the field of philosophy of film published during 2009.