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David Sorfa
University of Edinburgh
  1.  12
    What is Film-Philosophy?David Sorfa - 2016 - Film-Philosophy 20 (1):1-5.
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  2.  1
    Belief in Film: A Defense of False Emotion and Brother Sun, Sister Moon.David Sorfa - 2018 - Film and Philosophy 22:36-57.
    In this article I explore a tantalising definition of cinematic belief as a belief without belief by briefly considering the way in which film theory and film-philosophy have engaged with the question of belief in cinema. I also take into account Simon Critchley’s discussion of religious belief in The Faith of the Faithless (2012) within the context of anthropological studies of religion such as that by Émile Durkheim. In addition, I discuss Sigmund Freud’s 1927 reflection on religion in “The Future (...)
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  3.  68
    Hieroglyphs and Carapaces: The Enigmatic Real in Laura Mulvey's Fetishism and Curiosity.David Sorfa - 2001 - Film-Philosophy 5 (1).
    Laura Mulvey _Fetishism and Curiosity_ London: British Film Institute, 1996 ISBN 0-85170-5480 hbk, 0-85170-5472 pbk xv + 175 pp.
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  4.  1
    Introduction: Cinema Is.David Sorfa - 2016 - Film-Philosophy 20 (2-3):195-197.
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  5.  32
    Introduction: Reanimating the Auteur.David Sorfa - 2006 - Film-Philosophy 10 (1):i-iv.
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  6.  44
    N/M: Misreading the Womand: On Patrick McGee, Cinema, Theory, and Political Responsibility in Contemporary Culture.David Sorfa - 1998 - Film-Philosophy 2 (1).
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    Seeing Oneself Speak: Speech and Thought in First-Person Cinema.David Sorfa - 2019 - JOMEC Journal 13:104-121.
    Cinema struggles with the representation of inner-speech and thought in a way that is less of a problem for literature. Film also destabilises the notion of the narrator, be they omniscient, unreliable or first-person. In this article I address the peculiar and highly unsuccessful cinematic innovation which we can call the ‘first-person camera’ or ‘first-person’ film. These are films in which the camera represents not just the point-of-view of a character but is meant to be understood as that character. Very (...)
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  8.  1
    The Cinema of Michael Haneke: Europe Utopia.David Sorfa & Ben McCann - 2011 - New York, NY, USA: Columbia University Press.
    Michael Haneke is one of the most important directors working in Europe today, with films such as Funny Games (1997), Code Unknown (2000), and Hidden (2005) interrogating modern ethical dilemmas with forensic clarity and merciless insight. Haneke's films frequently implicate both the protagonists and the audience in the making of their misfortunes, yet even in the barren nihilism of The Seventh Continent (1989) and Time of the Wolf (2003) a dark strain of optimism emerges, releasing each from its terrible and (...)
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  9.  48
    Why Bother with Cinema?, on Paolo Cherchi-Usai The Death of Cinema: History, Cultural Memory and the Digital Dark Age.David Sorfa - 2003 - Film-Philosophy 7 (1).
    Paolo Cherchi-Usai _The Death of Cinema: History, Cultural Memory and the Digital Dark Age_ Preface by Martin Scorsese London: British Film Institute, 2001 ISBN 0851708374 (pb) 0851708382 (hb) 134 pp.
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