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Cinema, philosophy, Bergman: on film as philosophy

New York: Oxford University Press (2009)

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  1. The Oxford Handbook of Philosophical Methodology.Herman Cappelen, Tamar Gendler & John Hawthorne (eds.) - 2016 - Oxford, United Kingdom: Oxford University Press.
    This is the most comprehensive book ever published on philosophical methodology. A team of thirty-eight of the world's leading philosophers present original essays on various aspects of how philosophy should be and is done. The first part is devoted to broad traditions and approaches to philosophical methodology. The entries in the second part address topics in philosophical methodology, such as intuitions, conceptual analysis, and transcendental arguments. The third part of the book is devoted to essays about the interconnections between philosophy (...)
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  • Rhythm and Refrain: In Between Philosophy and Arts (2016).Jurate Baranova (ed.) - 2016 - Vilnius: Lithuanian University of educational sciences.
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  • Fiction, Philosophy, and Television: The Case of Law and Order: Special Victims Unit.Iris Vidmar Jovanović - 2021 - Journal of Aesthetics and Art Criticism 79 (1):76-87.
    This article lies at the intersection of two problems: the one concerning the potential of fictional works to inform us about our social reality and foster our understanding of its various aspects, and the one concerning their potential to engage with philosophical issues. I bring these two together by analyzing the hit television series Law and Order: Special Victims Unit. According to my interpretation, the series is informative about our social world, and it raises philosophical concerns about it. This makes (...)
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  • Silence as Elective Mutism in Minor Cinema.Tanya Shilina-Conte - 2021 - Film-Philosophy 25 (2):130-150.
    This article advances mutism as a creative mode and conceptual tool to treat silence in cinema. Whereas mutism can be a productive concept for the study of auditory and visual absence in a broader...
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  • Nature Screened: An Eco-Film-Phenomenology.Ilan Safit - 2014 - Environmental Philosophy 11 (2):211-235.
    Do cinematic representations of the natural world only put us in further remove from nature? A phenomenological approach shows that nature screened can produce a richer understanding of human–nature relations as these unfold in visual contact. If vision accesses the world in a unique relationship of sight, in which our contact with the world is defined by vision prior to any other interaction, the cinema offers a special setting for a phenomenology that seeks to draw-out the significance of human relations (...)
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  • Què és la “filosofia del cinema”? Una panoràmica sobre l’estat de la qüestió.Javier Ruiz Moscardó - 2018 - Quaderns de Filosofia 5 (1).
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  • Film as Aesthetic Experience and Work of Art.Iasmina Petrovici & Dean Ivan - 2019 - Postmodern Openings 10 (3):135-150.
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  • Quaderns de filosofia V, 1.Quad Fia - 2018 - Quaderns de Filosofia 5 (1).
    Quaderns de filosofia V, 1 Número complet / Número completo / Full Issue.
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  • Philosophy of film.Thomas Wartenberg - 2008 - Stanford Encyclopedia of Philosophy.
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  • Are There Definite Objections to Film as Philosophy? Metaphilosophical Considerations.Diana Neiva - 2019 - In Christina Rawls, Diana Neiva & Steven S. Gouveia (eds.), Philosophy and Film: Bridging Divides. Nova Iorque, NY, Estados Unidos: Routledge Press, Research on Aesthetics. pp. 116-134.
    The “film as philosophy” (FAP) hypothesis turned into a field if its own right during the 2000s, after S. Mulhall’s On Film (2001). In this work, Mulhall defended that some films philosophize for themselves. This caused controversy. Around the same time of On Film’s release, B. Russell published the article “The philosophical limits of film” (2000). This article had one of the first attacks against FAP, posing some main objections based on metaphilosophical grounds, which were called the “generality” and the (...)
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