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  1. Film as text/text as film.Claude Gandelman - forthcoming - Semiotica.
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  2. Matthew Strohl, Why it’s OK to Love Bad Movies. New York, Routledge, 2022. ISBN: 0367407655. Paperback $24.95. [REVIEW]Mi Rae Ryu, Alexander Middleton & Travis Timmerman - forthcoming - Journal of Value Inquiry:1-9.
  3. La máquina de futuro.Byron Davies - 2024 - Los Experimentos.
    Spanish version of collaborative essay with Oaxaca-based Mexican experimental filmmaker Bruno Varela on his found footage project La máquina de futuro. Published on the website Los Experimentos together with the release of Varela's diptych Anáhuac contra los robots, consisting of the films La máquina de futuro and La ranura en el tiempo.
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  4. Missing Links, A Book in Ten Sessions.Lucas Ferraço Nassif - 2023 - Berlin/London: Barakunan.
    Missing Links, A Book in Ten Sessions is Lucas Ferraço Nassif's elaboration on the work of art in Gilles Deleuze and Félix Guattari through description, time, cosmology, and desire production. The films of Chantal Akerman, alongside Anne Carson and Ludwig Wittgenstein, are his main objects of study. -/- The book is available, open access, at Barakunan's website.
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  5. Film Gris v. Film Noir.Sander H. Lee - 2022 - Film and Philosophy 26:123-141.
    In this essay, I argue that the distinction between film gris and film noir, introduced by Jon Tuska in his 1984 book Dark Cinema, enhances our appreciation of the philosophical attributes of such films. For Tuska, there are important differences between a film gris and a film noir. While a film gris may have a number of noir attributes (a shadowy noir visual style, a gritty urban setting, cynical characters, etc.) a genuine film noir is not merely a police procedural (...)
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  6. Introduction to the Special Issue on Caste and Cinema.Arijeet Mandal - 2022 - All About Ambedkar: A Journal on Theory and Praxis 3 (1):1-39.
    The following Introduction briefly traces, albeit in jarring cuts, the evolution of caste question and its relationship with Indian cinema. It also tries to point out some aspects of Indian film theory, its lacunae and hopes that some of the questions raised here may give rise to future works by other (better) theorists. Pre-Independence cinema in India rarely addressed caste question, and if it did, then it was through an abstract global humanist lens. This tendency to address caste through a (...)
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  7. 1922: Dziga Vertov.Dan Geva - 2021 - In A Philosophical History of Documentary, 1895-1959. Cham: Palmgrave Macmillan. pp. 93-100.
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  8. 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 of philosophical practices and pursuits that distinguish philosophy (in general) without (...)
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  9. The Philosophy of Werner Herzog.M. Blake Wilson & Christopher Turner (eds.) - 2020 - Lexington Books.
    Legendary director, actor, author, and provocateur Werner Herzog has incalculably influenced contemporary cinema for decades. This essay collection by professional philosophers and film theorists from around the globe offers a diversity of perspectives on how the thinking behind the camera is revealed in the action Herzog captures in front of it.
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  10. "You Ain't Gonna Get Away Wit' This, Django": Fantasy, Fiction and Subversion in Quentin Tarantino's, Django Unchained.Jack Black - 2019 - Quarterly Review of Film and Video 36 (7):611-637.
    From 2009 to 2015, U.S. director, Quentin Tarantino, released three films that were notable for their focus on particular historical events, periods and individuals (Inglorious Basterds 2009; Django Unchained 2012; The Hateful Eight 2015). Together, these films offered a specifically “Tarantinian” rendering of history: rewriting, manipulating and, for some, unethically deploying history for aesthetic effect. With regard to Django Unchained, this article examines how Tarantino’s historical revisionism provides a valuable point of inquiry into the ways in which “history” is depicted (...)
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  11. Seeing things and screening reality. A review of “Philosophy and Film. Bridging Divides”. [REVIEW]Diana Bulzan - 2019 - Revista de Filosofie Aplicata 2 (3):124-131.
  12. Поезія і/чи проза: до археології однієї дискусії в радянському кіно.Briukhovetska Olga - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:33-41.
    У дослідженні проаналізовано теоретичні джерела і політичні наслідки статті московського кінокритика М. Блеймана «Архаїсти чи новатори?» (1970), яку вважають обґрунтуванням заборони школи українського поетичного кіно як «безперспективного» напряму. Статтю М. Блеймана вміщено в контекст дискусії про поетичне і прозаїчне кіно, яку систематизовано щодо двох підходів: нормативного, який вважає лише один із напрямів кіно релевантним його природі (йому відповідає сполучник «чи»), і плюралістичного, який розглядає обидва напрями як актуалізації різних кінематографічних потенцій згідно з тими завданнями, що ставлять режисери (йому відповідає сполучник (...)
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  13. Volodymyr Vynnychenko and the Early Ukrainian Decadent Film (1917–1918).Kirillova Olga - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:52-55.
    The article is focused on the phenomenon of the early Ukrainian decadent cinema, in particular, in relation to filmings of Volodymyr Vynnychenko’s dramaturgy. One of the brightest examples of ‘film decadence’ in Vynnychenko’s oevre is “The Lie” directed by Vyacheslav Vyskovs’ky in 1918, discovered recently in the film archives. This film displays the principles of ‘ethical symbolism’, ‘dark’ expressionist aesthetics and remains the unique masterpiece of specifically Ukranian film decadence.
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  14. Le plan subjectif réversible: Sur le point de vue au cinéma à partir des écrits de Merleau-Ponty.Anna Caterina Dalmasso - 2016 - Studia Phaenomenologica 16:135-162.
    When I am watching a movie, I perceive on the screen a space, which is united and lived, even if it appears as fragmented and separated from the world in which I live. But is the space of the cinematic frame equivalent or commensurable with the one I see through my own eyes? Are they opposed to each other or do they merge together? The most amazing example of the possible convergence of gaze and frame the film realizes is the (...)
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  15. Torture Pornopticon: (In)security Cameras, Self-Governance and Autonomy.Steve Jones - 2015 - In Linnie Blake & Xavier Aldana Reyes (eds.), Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon. I.B. Tauris. pp. 29-41.
    ‘Torture porn’ films centre on themes of abduction, imprisonment and suffering. Within the subgenre, protagonists are typically placed under relentless surveillance by their captors. CCTV features in more than 45 contemporary torture-themed films (including Captivity, Hunger, and Torture Room). Security cameras signify a bridging point between the captors’ ability to observe and to control their prey. Founded on power-imbalance, torture porn’s prison-spaces are panoptical. Despite failing to encapsulate contemporary surveillance’s complexities (see Haggerty, 2011), the panopticon remains a dominant paradigm within (...)
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  16. The Myth of Scotland as Nowhere in Particular.John Marmysz - 2014 - International Journal of Scottish Theatre and Screen 7 (1):28-44.
    In a number of recent films, Scotland has served as the setting for dramas that could have taken place anywhere. This has occurred in two related ways: First, there are films such as Perfect Sense (2011) and Under the Skin (2013). These films involve storylines that, while they do take place in Scotland, do not require the country as a setting. Second, there are films such as Prometheus (2012),The Dark Knight Rises (2012), Cloud Atlas (2012), and World War Z (2013). (...)
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  17. Una vita da film: come il cinema e la filosofia possono aiutarci a vincere le sfide della vita.Giovanni Piazza - 2013 - Torino: Lindau.
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  18. A Philosophy of Cinematic Art.George Wilson - 2013 - Philosophical Review 122 (2):307-310.
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  19. Affective passions: the dancing female body and colonial rupture in Zouzou (1934) and Karmen Geï (2001).Saër Maty Bâ & Kate E. Taylor-Jones - 2012 - In Saër Maty Bâ & Will Higbee (eds.), De-westernizing film studies. New York: Routledge.
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  20. Questioning discourses of diaspora: "Black" cinema as symptom.Saër Maty Bâ - 2012 - In Saër Maty Bâ & Will Higbee (eds.), De-westernizing film studies. New York: Routledge.
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  21. Introduction.Saër Maty Bâ & Will Higbee - 2012 - In Saër Maty Bâ & Will Higbee (eds.), De-westernizing film studies. New York: Routledge.
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  22. De-westernizing film studies.Saër Maty Bâ & Will Higbee (eds.) - 2012 - New York: Routledge.
    The book combines a series of chapters considering a range of responses to the idea of 'de-westernizing' film studies with a series of in-depth interviews with filmmakers, scholars and critics.
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  23. Griots and Talanoa speak: storytelling as theoretical frames in African and Pacific Island cinemas.Yifen Beus - 2012 - In Saër Maty Bâ & Will Higbee (eds.), De-westernizing film studies. New York: Routledge.
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  24. Cuerpo a cuerpo: radiografías del cine contemporáneo.Domènec Font - 2012 - Barcelona: Círculo de Lectores.
    No hay nada más evocador que un cuerpo filmado: los rasgos y la piel, pero también los gestos y movimientos. Y es uno de los privilegios del cine poder llevar a cabo esa misión como ningún otro arte pudo hacerlo antes. Porque a través de las películas vemos la labor del tiempo, su transcurso, su implacable trabajo de demolición. El cine contemporáneo se nos aparece ahora como el laboratorio ideal para la investigación sobre el cuerpo, sobre los contactos que establece (...)
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  25. Post-war modernist cinema and philosophy: confronting negativity and time.Hamish Ford - 2012 - New York: Palgrave-Macmillan.
    Appropriate for both academic readers and informed general enthusiasts of the cinema it addresses, the book demonstrates both philosophy's particular usefulness for the analysis of modernist cinema and film form's inherent potential for ...
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  26. Hollywood Incoherent. [REVIEW]Ted Nannicelli - 2012 - British Journal of Aesthetics 52 (3):317-320.
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  27. Devenir Mere': trajectories of the maternal bond in recent films starring Isabelle Huppert.Ursula Tidd - 2012 - In Jean-Pierre Boulé & Ursula Tidd (eds.), Existentialism and contemporary cinema: a Beauvoirian perspective. New York: Berghahn Books.
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  28. Trame del fantastico: riflessi e sogni nel cinema.Alessandro Cappabianca - 2011 - Cosenza: L. Pellegrini.
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  29. Quand le film nous parle: rhétorique, cinéma, télévision.Guillaume Soulez - 2011 - Paris: Presses universitaires de France.
    Le film n’est pas seulement un récit, c’est aussi un discours sur le monde. Or, trop souvent, la puissance de ce discours est surestimée et les publics caricaturés, en contradiction avec notre pratique ordinaire d’une discussion, non seulement après, mais avec les films. La tradition rhétorique et argumentative, retravaillée aujourd’hui dans une perspective pragmatique, envisage formes et contextes conjointement et permet de comprendre les liens entre le film, son discours et le spectateur. Entre formes et espace public, les analyses de (...)
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  30. Lukas Bleichenbacher (2008) Multilingualism in the Movies: Hollywood Characters and their Language Choices.Michael Abecassis - 2010 - Film-Philosophy 14 (2):118-124.
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  31. Visible man, or the culture of film.Béla Bálazs - 2010 - In Marc Furstenau (ed.), The Film Theory Reader: Debates and Arguments. Routledge.
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  32. La vida que resiste en la imagen: cine, política y acontecimiento.Arias Herrera & Juan Carlos - 2010 - Bogotá: Pontificia Universidad Javeriana.
    1. Cine y vanguardias : el cine como promesa estético-política desde Dziga Vertov y Jean Epstein -- 2. Deleuze y las potencias del cine : el acontecimiento de lo inorgánico -- 3. De la vida inorgánica a la vida histórica : recuperación del carácter narrativo del cine a partir de Jacques Ranciere.
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  33. Strategien der Filmanalyse - reloaded: Festschrift für Klaus Kanzog.Michael Schaudig & Klaus Kanzog (eds.) - 2010 - München: Verlag Schaudig & Ledig GbR.
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  34. Broke)back to the mainstream: queer theory and queer cinemas today.Harry M. Benshoff - 2009 - In Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies. Routledge. pp. 192--213.
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  35. El cine en su laberinto: literatura, pintura, sociedad.Héctor José Freire - 2009 - Capital Federal [i.e. Ciudad Autónoma de Buenos Aires]: Topía Editorial.
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  36. Stramaledettamente logico: esercizi di filosofia su pellicola.Armando Massarenti (ed.) - 2009 - Roma: Laterza.
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  37. Bréviaire de cinéphilie dissidente: essai.Ludovic Maubreuil - 2009 - Billière: Alexipharmaque.
    "À une époque où la cinéphilie n'est plus qu'une paraphilie parmi les autres, aussi estimable et inoffensive qu'une autre, en un temps où la sédition installée tient lieu d'horizon, il y a sans doute quelque naïveté à prétendre se démarquer de la modernité en se réclamant d'une "cinéphilie dissidente". Pourtant sous l'insurrection permanente, des règles intangibles et des principes incontestables demeurent, qu'il est nécessaire d'enfreindre. Derrière l'équivalence des opinions et la relativité des goûts, de nouvelles hiérarchies se sont bâties, qu'il (...)
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  38. Il ruolo dell'immagine nella memoria e nella storia.Consuelo Scopelliti - 2009 - Scandicci, Firenze: Atheneum.
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  39. Aktor i jego postać ekranowa: aktorstwo ery kina niemego w teorii i refleksji krytycznej.Piotr Skrzypczak - 2009 - Toruń: Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika.
    Książka Piotra Skrzypczaka jest bez wątpienia najpoważniejszą pracą poświęconą aktorstwu filmowemu, jaka do tej pory powstała w Polsce, i jak na taką skalę książką jedyną. Cóż bowiem opisywać: aktora, artystę, gwiazdę, człowieka uwikłanego w przemysł kinematograficzny, role itd.? Potencjalna wielość wyborów stanowi w gruncie rzeczy kłopot metodologiczny. Przyjęcie przez autora konstruktu teoretycznego, jakim jest fundamentalna dla książki kategoria „postaci ekranowej", i konsekwentne stosowanie go we wszystkich rozdziałach pozwala zachować dyscyplinę dyskursu. Piotr Zmerzchowski Autor pedantycznie i cierpliwie rozświetla i rozsupłuje sekrety (...)
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  40. Il giuda digitale: il cinema del futuro dalle ceneri del passato.Massimo Nardin - 2008 - Roma: Carocci.
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  41. Gendered memories: transgressions in German and Israeli film and theatre.Vera Apfelthaler & Julia Köhne (eds.) - 2007 - Wien: Turia + Kant.
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  42. Between Virgo and virago : spatial perception and gender politics in Austrian film production, 1914-1918.Thomas Ballhausen - 2007 - In Vera Apfelthaler & Julia Köhne (eds.), Gendered Memories: Transgressions in German and Israeli Film and Theatre. Turia + Kant.
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  43. Postmodern Hollywood: what's new in film and why it makes us feel so strange.M. Keith Booker - 2007 - Westport, Conn.: Praeger.
    Looks at the varied manifestations of postmodernism in an array of popular American films from the 1950s forward.
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  44. Seeing Ecology and Seeing as Ecology: On Brereton's Hollywood Utopia and the Anderson's Moving Image Theory.Brian E. Butler - 2007 - Film-Philosophy 11 (1):61-69.
    Joseph D. Anderson & Barbara Fisher Anderson Moving Image Theory: Ecological ConsiderationsCarbondale: Southern Illinois University Press.ISBN 0 8093 2599 3253pp.Pat Brereton Hollywood Utopia: Ecology in Contemporary American CinemaBristol: Intellect.ISBN 1 84150117 4270pp.
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  45. Planètes sonores: radiophonie, arts, cinéma.Alexandre Castant - 2007 - Blou: Monografik.
    Résultat d'une recherche sur les relations étroites entre la radiophonie, les arts plastiques et le cinéma, constituant ainsi une ébauche d'esthétique du son dans les arts visuels.
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  46. De cine somos: críticas y miradas desde el arte.Héctor José Freire - 2007 - Capital Federal: Topía Editorial.
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  47. Gendai eizō geijutsuron: eizō sakka katsudō no shisōteki haikei, 1970-nen-200-nen.Sei Kazama - 2007 - Kodaira-shi: Shuppan Bunka Kenkyūkai.
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  48. El cine y la metáfora.Aguilar Moreno & José María - 2007 - Sevilla, [Spain]: Editorial Renacimiento.
    Y lo que es más decisivo, con El Cine y la Metáfora aprendemos a ver las películas de una manera más compleja, porque nos enseña a desmenuzar inteligentemente algunos de los elementos y objetos cotidianos que constituyen el alfabeto de ...
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  49. Film kao vremenski oblik: predavanja iz estetike filma.Sadudin Musabegović - 2007 - Sarajevo: Armis Print.
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  50. Primum videre, deinde philosophari: una historia de la filosofía a través del cine.Anacleto Ferrer (ed.) - 2006 - [Valencia]: Institució Alfons el Magnànim, Diputació de València.
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1 — 50 / 54