Results for 'Cinematic Philosophy'

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  1.  47
    Cinematic Philosophy: Experiential Affirmation in Memento.Rafe Mcgregor - 2014 - Journal of Aesthetics and Art Criticism 72 (1):57-66.
    This article demonstrates that Memento (Christopher Nolan, 2000) meets both conditions of Paisley Livingston's bold thesis of cinema as philosophy. I delineate my argument in terms of Aaron Smuts's clarifications of Livingston's conditions. The results condition, which is concerned with the nature of the philosophical content, is developed in relation to Berys Gaut's conception of narrational confirmation, which I designate ‘experiential affirmation.’ Because experiential affirmation is a function of cinematic depiction, it meets Livingston's means condition, which is concerned (...)
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  2.  4
    Cinematic Philosophy in Le Feu Follet: The Search for a Meaningful Life.Herbert Granger - 2004 - Film and Philosophy 8:74-90.
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  3.  20
    Robert Pippin’s Cinematic Philosophy in Light of Richard Rorty’s Neopragmatism.Krzysztof Piotr Skowroński - 2016 - In Waldemar Zacharasiewicz & Ludwig Nagl (eds.), Ein Filmphilosophie-Symposium Mit Robert B. Pippin: Western, Film Noir Und Das Kino der Brüder Dardenne. De Gruyter. pp. 75-92.
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  4.  22
    Cinematic Mythmaking: Philosophy in Film.Irving Singer - 2008 - MIT Press.
    Film is the supreme medium for mythmaking. The gods and heroes of mythology are both larger than life and deeply human; they teach us about the world, and they tell us a good story. Similarly, our experience of film is both distant and intimate. Cinematic techniques--panning, tracking, zooming, and the other tools in the filmmaker's toolbox--create a world that is unlike reality and yet realistic at the same time. We are passive spectators, but we also have a personal relationship (...)
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  5.  40
    Fatalism in American Film Noir: Some Cinematic Philosophy.Robert B. Pippin - 2011 - University of Virginia Press.
    Introduction -- Trapped by oneself in Jacques Tourneur's Out of the past -- "A deliberate, intentional fool" in Orson Welles's The lady from Shanghai -- Sexual agency in Fritz Lang's Scarlet Street -- "Why didn't you shoot again, baby?": concluding remarks.
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  6.  11
    Robert B. Pippin , Fatalism in American Film Noir: Some Cinematic Philosophy . Reviewed By.Keith Dromm - 2012 - Philosophy in Review 32 (6):511-513.
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  7.  87
    A Philosophy of Cinematic Art.Berys Gaut - 2010 - Cambridge: Cambridge University Press.
    A wide-ranging and accessible study of cinema as an art form, discussing traditional photographic films, digital cinema, and videogames.
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  8.  77
    The Philosophy of the Movies : Cinematic Narration.Berys Gaut - 2004 - In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Blackwell. pp. 230--253.
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  9.  10
    Cinematic Mythmaking: Philosophy in Film.Irving Singer - 2010 - MIT Press.
    Film is the supreme medium for mythmaking. The gods and heroes of mythology are both larger than life and deeply human; they teach us about the world, and they tell us a good story. Similarly, our experience of film is both distant and intimate. Cinematic techniques--panning, tracking, zooming, and the other tools in the filmmaker's toolbox--create a world that is unlike reality and yet realistic at the same time. We are passive spectators, but we also have a personal relationship (...)
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  10.  19
    Where Film Meets Philosophy: Godard, Resnais, and Experiments in Cinematic Thinking.Hunter Vaughan - 2013 - Columbia University Press.
    Closely reading the films of Jean-Luc Godard and Alain Resnais, Hunter Vaughan establishes a connection between phenomenology and image-philosophy to analyze the moving image and its challenge to conventional modes of thought.
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  11.  98
    A Philosophy of Cinematic Art, by Berys Gaut.M. Turvey - 2013 - Mind 122 (485):281-284.
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  12.  26
    A Philosophy of Cinematic Art – Berys Gaut.Katherine Thomson-Jones - 2011 - Philosophical Quarterly 61 (243):445-446.
  13.  49
    A Philosophy of Cinematic Art.George Wilson - 2013 - Philosophical Review 122 (2):307-310.
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  14.  26
    A Philosophy of Cinematic Art--The Big Picture.B. Gaut - 2012 - British Journal of Aesthetics 52 (2):183-186.
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  15.  44
    A Philosophy of Cinematic Art by Gaut, Berys.Jinhee Choi - 2011 - Journal of Aesthetics and Art Criticism 69 (2):235-237.
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  16. Cinematic Realism Reconsidered.Rafe Mcgregor - 2012 - Polish Journal of Philosophy 6 (1):57-68.
    The purpose of this paper is to re-examine the debate about cinematic motion in terms of the necessity for reception conditions in art. I shall argue that Gregory Currie’s rejection of weak illusionism – the view that cinematic motion is illusory – is sound, because cinematic images really move, albeit in a response-dependent rather than garden-variety manner. In §1 I present Andrew Kania’s rigorous and compelling critique of Currie’s realism. I assess Trevor Ponech’s response to Kania in (...)
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  17.  13
    The Cinematic Agora: Symposium on Dominique Château's Cinéma Et Philosophie.Paulo C. Cunha Filho - 2006 - Film-Philosophy 10 (2):99-107.
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  18. Introducing Cinematic Humanism: A Solution to the Problem of Cinematic Cognitivism.Britt Harrison - 2019 - Croatian Journal of Philosophy 19 (2):331-349.
    A Cinematic Humanist approach to film is committed inter alia to the following tenet: Some fiction films illuminate the human condition thereby enriching our understanding of ourselves, each other and our world. As such, Cinematic Humanism might reasonably be regarded as an example of what one might call ‘Cinematic Cognitivism’. This assumption would, however, be mistaken. For Cinematic Humanism is an alternative, indeed a corrective, to Cinematic Cognitivism. Motivating the need for such a corrective is (...)
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  19.  44
    The Cinematic Body.Steven Shaviro - 1993 - University of Minnesota Press.
    Preface The Cinematic Body is a transversal, exploratory work, one that cuts across disciplinary boundaries and seeks to engage new currents in critical ...
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  20.  5
    Technics and Time, 3: Cinematic Time and the Question of Malaise.Bernard Stiegler - 2010 - Stanford University Press.
    Cinematic time -- The cinema of consciousness -- I and we : the American politics of adoption -- The malaise of our educational institutions -- Making (the) difference -- Technoscience and reproduction.
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  21.  5
    Cinematic Ethics: Exploring Ethical Experience Through Film.Robert Sinnerbrink - 2015 - Routledge.
    How do movies evoke and express ethical ideas? What role does our emotional involvement play in this process? What makes the aesthetic power of cinema ethically significant? Cinematic Ethics: _Exploring Ethical Experience through Film_ addresses these questions by examining the idea of cinema as a medium of ethical experience with the power to provoke emotional understanding and philosophical thinking. In a clear and engaging style, Robert Sinnerbrink examines the key philosophical approaches to ethics in contemporary film theory and (...) using detailed case studies of cinematic ethics across different genres, styles, and filmic traditions. Written in a lucid and lively style that will engage both specialist and non-specialist readers, this book is ideal for use in the academic study of philosophy and film. Key features include annotated suggestions for further reading at the end of each chapter and a filmography of movies useful for teaching and researching cinematic ethics. (shrink)
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  22.  5
    Cinematic Political Thought: Narrating Race, Nation and Gender.Michael Shapiro - 1999 - New York University Press.
    In Cinematic Political Thought , Michael J. Shapiro investigates aspects of contemporary politics and articulates a critical philosophical perspective with politically disposed treatments of contemporary cinema. Reading such films as Hoop Dreams, Lone Star, Father of the Bride II and To Live and Die in LA through the lens of Deleuze, Derrida, Foucault and Lyotard, Shapiro demonstrates what it can mean to think the political both in terms of cinema studies and in wider aesthetic and social contexts. Cinematic (...)
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  23. Cinematic.Aaron Smuts - 2013 - Nordic Journal of Aesthetics 23 (46):78-95.
    Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We (...)
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  24.  64
    Post-Cinematic Affect: On Grace Jones, Boarding Gate and Southland Tales.Steven Shaviro - 2010 - Film-Philosophy 14 (1):1-102.
    This essay explores the 'structure of feeling' that is emerging today in tandem with new digital technologies, together with economic globalisation and the financialisation of more and more human activities. The 20th century was the age of film and television; these dominant media shaped and reflected our cultural sensibilities. In the 21st century, new digital media help to shape and reflect new forms of sensibility. Movies (moving image and sound works) continue to be made, but they have adopted new formal (...)
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  25.  25
    Philosophical Dimensions of Cinematic Experience.David Davies - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. New York: Routledge. pp. 135-156.
    This chapter critically examines the idea that some cinematic artworks “do philosophy”. It is argued that any interesting “film as philosophy” thesis must satisfy two conditions: (FP1) In any advance in philosophical understanding attributable to a cinematic artwork, the philosophical content through which such an advance is accomplished must be articulated in a manner that is distinctively cinematic, on a proper understanding of the latter; (FP2) The advance in philosophical understanding attributable to a cinematic (...)
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  26.  43
    Irving Singer (2008) Cinematic Mythmaking: Philosophy in Film.Robert Sixto Sinnerbrink - 2010 - Film-Philosophy 14 (1):377-386.
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  27.  4
    Berys Gaut , A Philosophy of Cinematic Art . Reviewed By.Kathryn Brown - 2012 - Philosophy in Review 32 (5):381-383.
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  28.  13
    Photographing Mindedness: Cinematic Technique and Philosophy in the Films of the Dardenne Brothers.Robert B. Pippin - 2016 - In Waldemar Zacharasiewicz & Ludwig Nagl (eds.), Ein Filmphilosophie-Symposium Mit Robert B. Pippin: Western, Film Noir Und Das Kino der Brüder Dardenne. De Gruyter. pp. 17-42.
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  29.  18
    Berys Gaut's A Philosophy of Cinematic Art.T. Ponech - 2012 - British Journal of Aesthetics 52 (2):187-190.
  30. Cinematic Narrators.Katherine Thomson-Jones - 2009 - Philosophy Compass 4 (2):296-311.
    This article surveys the current debate among analytic philosophers and film narratologists about the logic and phenomenology of cinematic narration. Particular attention is given to the question of whether every film that represents a fictional narrative also represents a narrator's fictional narration.
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  31.  49
    Cinematic Ideas, on David Lynch's Mulholland Drive.Robert Sinnerbrink - 2005 - Film-Philosophy 9 (4).
    he enigmatic films of David Lynch have been interpreted from a variety of perspectives. Among these we can find Lynch the postmodernist ironist, Lynch the transgressive neoconservative, and Lynch the visionary explorer of the unconscious. Martha P. Nochimson's recent study, for example, presents an eloquent case for regarding Lynch as a Jungian 'surfer of the waves of the collective unconscious', whose films combine the intuitive embracing of subconscious Life Energy with a celebration of the creative power of Hollywood mythology. [1] (...)
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  32. Cinematic Authorship.Paisley Livingston - 1997 - In Richard Allen & Murray Smith (eds.), Film Theory and Philosophy. Oxford University Press.
     
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  33.  93
    Cinematic Humanism: Cinematic, Dramatic, and Humanistic Value in Fiction Films.Britt Harrison - 2022 - Dissertation, University of York
    Might fiction films have cognitive value, and if so, how might such value interact with films’ artistic and aesthetic values? Philosophical consideration of this question tends to consist in either ceteris paribus extensions of claims relating to prose fiction and literature; meta-philosophical inquiries into the capacity of films to be or do philosophy; or generalised investigations into the cognitive value of any, and thereby all, artworks. I first establish that fiction films can be works of art, then address this (...)
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  34.  6
    Cinematically Speaking: The Orality-Literacy Paradigm for Visual Narrative.Sheila J. Nayar - 2010 - Hampton Press.
    Orality, literacy, and an epistemic approach tovisual narrative -- Excavating the oral characteristics of visual narrative -- Mapping the literate characteristics of visual narrative -- Between the oral and literate epistemes -- The future of the orality-literacy paradigm, cinematically speaking -- The politics of (re)presentation -- Digital technology and beyond -- Concluding remarks.
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  35.  19
    Perversion and Method. Zizek’s "Platonic Love" for Film, Dialectics of Exemplification and the Catastrophe of Psychoanalysis in the Cinematic Discourse of Philosophy.Borislav Mikulic - 2013 - Filozofija I Društvo 24 (1):381-422.
    The article discusses the relation between the paradigmatic status of film and use of film analogies in the psychoanalytic discourse on society and culture by Slavoj Zizek, which represents the very ground of his philosophical discourse in general. In the first part, starting with a recent discussion by different English and American scholars on controversial aspects of Slavoj Zizek?s activity in academia and on a broader public scene, the paper discusses on some parallel examples and inherent motivators of the form-content (...)
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  36.  43
    Cinematic Belief: Bazinian Cinephilia and Malick's the Tree of Life.Robert Sinnerbrink - 2012 - Angelaki 17 (4):95 - 117.
    Given the so-called ?crisis? in film theory, the digital mutations of the medium, and the renewed interest in historicism, cinephilia, and film philosophy, André Bazin's thought appears ripe for retrieval and renewal. Indeed, his role in the renaissance of philosophical film theory, I argue, is less epistemological and ontological than moral and aesthetic. It is a quest to explore the revelatory possibilities of cinematic images; not only their power to reveal reality under a multiplicity of aspects but to (...)
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  37.  12
    Cinematic Imaging and Imagining Through the Lens of Buddhism.Victor Fan - 2020 - Paragraph 43 (3):364-380.
    The oft-undiscernible boundary between imaging and imagining is especially apparent in our cinematic experience. In Buddhist philosophy, imaging and imagining are neither the same nor different, neither not the same nor not different. In this article, I argue that imaging in Buddhism refers not only to the formational process of an image out there, but also the external form's interdependent relationship with the internal forms. Likewise, imagining refers not only to the formational process of an image in here, (...)
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  38.  60
    On Cinematic Genius: Ontology and Appreciation: Paisley Livingston.Paisley Livingston - 2012 - Royal Institute of Philosophy Supplement 71:85-104.
    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 (...)
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  39.  17
    Cinematic Thinking and the Meaning of History: A. Tarkovsky, The Passion According to Andrei.Natalia L. Rudychev - 2006 - International Studies in Philosophy 38 (1):141-148.
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  40. American History X, Cinematic Manipulation, and Moral Conversion.Christopher Grau - 2010 - Midwest Studies in Philosophy 34 (1):52-76.
    American History X (hereafter AHX) has been accused by numerous critics of a morally dangerous cinematic seduction: using stylish cinematography, editing, and sound, the film manipulates the viewer through glamorizing an immoral and hate-filled neo-nazi protagonist. In addition, there’s the disturbing fact that the film seems to accomplish this manipulation through methods commonly grouped under the category of “fascist aesthetics.” More specifically, AHX promotes its neo-nazi hero through the use of several filmic techniques made famous by Nazi propagandist Leni (...)
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  41.  26
    Cinematic Realism and Right to Die Legislation.A. Howsepian - 1997 - International Journal of Applied Philosophy 11 (2):63-66.
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  42.  11
    Cinematic Realism Revisited: A Kantian Perspective.Denise Gamble - 2016 - Journal of Philosophical Research 41:499-526.
    An anti-realist stance prevalent in philosophy of film, probably less familiar to analytical than continental philosophers, raises issues that are philosophically accessible and engaging. While this anti-realist stance can be historically situated many of its constituent ideas remain influential in contemporary milieus. A common claim of anti-realism is that realist art or cinema, in part by virtue of ‘reification', is inherently ‘non-transformative’. Without rigorously refuting all manifestations of the ‘reification thesis’, key assumptions of anti-realism associated with it are challenged (...)
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  43. Cinematic Readings: A Primer of Film Culture.Richard De Canio - 1994 - Chiu Yo Pub. House.
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  44. Cinematic Realism.André Bazin - 2005 - In Thomas E. Wartenberg & Angela Curran (eds.), The Philosophy of Film: Introductory Text and Readings. Blackwell. pp. 59--69.
     
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  45.  9
    The Cinematic Bergson: From Virtual Image to Actual Gesture.John Ó Maoilearca - 2016 - Journal of French and Francophone Philosophy 24 (2):203-220.
    Deleuze’s film-philosophy makes much of the notion of virtual images in Bergson’s Matter and Memory, but in doing so he transforms a psycho-meta-physical thesis into a unBergsonian ontological one. In this essay, we will offer a corrective by exploring Bergson’s own explanation of the image as an “attitude of the body”—something that projects an actual, corporeal, and postural approach, not only to cinema, but also to philosophy. Indeed, just as Renoir famously said that “a director makes only one (...)
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  46.  8
    Cinematics. [REVIEW]F. R. G. - 1975 - Review of Metaphysics 29 (1):154-155.
    This brief, well-written book expands Weiss’ philosophy of art to include the making of films, and in doing so helps one to better understand much of his philosophy as a whole. For example, the shift from Modes of Being to Beyond All Appearances can partly be understood as the fuller appreciation of what actualities are that has followed from Weiss’ further reflections on the status of art objects. The book presents an argument which is shaped by an exemplary (...)
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  47.  7
    Cinematic Media in the Age of the Quantum Particle.Ted Kafala - 2002 - Film-Philosophy 6 (3).
    Paul Virilio _Polar Inertia_ London: Sage Publications, 2000 ISBN 0-7619-5802-9 (hb) 0-7619-5803-7 (pbk) 103 pp.
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  48.  32
    Time, Affect, and the Brain: Deleuze's Cinematic Aesthetics: Darren Ambrose and Wahida Khandker (Eds.) (2005) Diagrams of Sensation: Deleuze and Aesthetics: Pli, The Warwick Journal of Philosophy.Robert Sinnerbrink - 2008 - Film-Philosophy 12 (1):85-96.
  49.  1
    Cinematic Humanism or Grand Theory?Thomas E. Wartenberg - 2002 - Film and Philosophy 5:131-137.
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  50.  8
    Cinematic Incorporation: Literature in My Life Without Me.Sarah Dillon - 2015 - Film-Philosophy 19 (1):55-66.
    This essay considers the relationship between literature and film through a reading of Isabel Coixet's film My Life Without Me. The first half of the essay explores how two recent theorisations of the term incorporation allow us to read, on the one hand, the film's relationship to Nanci Kincaid's short story 'Pretending the Bed is a Raft' in particular and to literature in general and, on the other, the narrative consequences of the protagonist Ann's decision to keep her terminal illness (...)
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