The Art of Film

نَرُومُ من خلال هذه الدراسة استقراء ما تُتِيحُه البيبليوغرافيا البحثية حول موضوع أفلام المرأة وقضايا الجندر في السينما، إذ سَنَعْمَدُ على تحليل الدراسات المتوفِّرة بشكل نقدي، وذلك بغية الوقوف على حدود ما كُتب حول الموضوع. والحال أن مراجعاتنا النقدية قد قادتنا إلى الخروج باستنتاج مفاده أن حقل الدراسات السينمائية في العالم العربي عامةً والمغرب خاصةً لا يزال يُعاني من شُحٍّ على مستوى الكم، فقلة قليلة هم الباحثون في العلوم الإنسانية الذين يهتمون بموضوع السينما والثقافة البصرية، وظواهرها المركبة، التي تلتقي فيها (...) رهانات المخرجين وجمالية أعمالهم مع تطلعات الجمهور وردود أفعالهم. زيادة على ذلك، سنحاول في هذه الدراسة بَيَان الدواعي الواقعية التي تستدعي توجيه بوصلة البحث نحو الاهتمام بقضايا السينما، كما سنحاول إثبات الفعالية العلمية لسوسيولوجيا السينما كمبحث بمقدوره تجاوز أحكام القيمة التي تتخلل كتابات النقد الفني حول سينما المرأة، وبمقدوره أيضا تجاوز القصور الذي يَسِمُ المقاربات السيميولوجية التي تَحْصِرُ نفسها في تحليل المضمون الداخلي للأفلام فقط. (shrink)

This chapter is focused on the philosophy of film sound in the analytic tradition and its limitations; drawing from current literature in other fields, it aims to complement some philosophical discussions typically centered on the image with their aural counterparts. Firstly, it provides an overview of early skeptical views on the contribution of sound to the artistic status of films and critically questions the status of sound in contemporary philosophical conceptions of film suggesting a revision that takes seriously the idea (...) of film as an audio-visual medium. Secondly, it discusses a central topic in the philosophy of film, the idea of film realism, showing how the discussion of sound may open new directions along three different dimensions: illusion, likeness, and transparency. (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)

My goal in this chapter is threefold. First, I argue that film is, at least partly, an art of sound. Most films are not made merely to be seen; they are also made to be heard. This offers an alternative to traditional accounts of film, which take film to be an essentially visual artform, and it suggests new directions for research in philosophy of film. Second, I argue that there are several distinct arts of sound in film. Some of these (...) arts, like film music, are “aesthetic” arts; others, like sound effects, are “functional” arts. Still others, like sound design, are both functional and aesthetic. Third, I consider and reply to the objection that the arts of sound in film cannot be arts at all, because they are all functional. (shrink)

У статті досліджено роль кіно у творчості Василя Герасим’юка. Простежено особливості використання кінематографічних прийомів, проаналізовано цитування кінокласики, розкрито значення постаті І. Миколайчука у текстах В. Герасим’юка. Розглянуто вплив «поетичного кіно» і особливо стрічки «Тіні забутих предків» на формування «карпатського тексту» поета.

This interdisciplinary study explores the relevance and application of Martin Heidegger’s phenomenology to key issues in the philosophy film. It develops a comprehensive look at how Heidegger’s thought illuminates historical and contemporary problems the film medium poses to philosophers.

This article sketches a commonplace yet neglected epistemic puzzle raised by the diversity of our film-viewing practices. Because our appreciative practices allow for variability in the " instances " of cinematic works we engage, many of our experiential encounters with those works are flawed or impoverished in a number of ways. The article outlines a number of ways in which instances of cinema can vary – including, for example, in terms of color, score, and aspect ratio. This variability of instances (...) of cinema and, hence, the variability in our experiences of a cinematic work raise potential problems around normative questions of interpretation and evaluation. (shrink)

Murray Smith presents an original approach to understanding film. He brings the arts, humanities, and sciences together to illuminate artistic creation and aesthetic experience. His 'third culture' approach roots itself in an appreciation of scientific innovation and how this has shaped the moving media.

We are living in an age that is narratively obsessed: both in the academy and in popular culture, temporally articulated phenomena currently exert a vice-like grip over the collective imagination. Under such conditions, how may non-narrative sources of aesthetic power be made available once again to human observers? Charlie Kaufman’s response, in Adaptation, takes the form not of statements but of actions, of “philosophical therapy” for our insatiable narrative hunger. It leaves us, in the end, with two phenomena that have (...) (in the full sense of the word) no history at all: the beauty of flowers and the intricacy of a human soul. (shrink)

In this paper, I develop a unified account of cinematic representation as primary depiction. On this account, cinematic representation is a distinctive form of depiction, unique in its capacity to depict temporal properties. I then explore the consequences of this account for the much-contested question of whether cinema is an independent representational art form. I show that it is, and that Scruton’s argument to the contrary relies on an erroneous conception of cinematic representation. CiteULike Connotea Del.icio.us What's this?

In the fall of 1957 the University of California Press expanded Arnheim’s 1933 book _Film_ by four essays and brought that landmark work back into print as _Film as Art._ Now nearly fifty years after that re-edition, the book continues to occupy an important place in the literature of film. Arnheim’s method, provocative in this age of technological wizardry, was to focus on the way art in film was derived from that medium’s early limitations: no sound, no color, no three-dimensional (...) depth. (shrink)