'Young People and Social Media: Contemporary Children's Digital Culture' explores the practices, relationships, consequences, benefits, and outcomes of children's experiences with, on, and through social media by bringing together a vast array of different ideas about childhood, youth, and young people's lives. These ideas are drawn from scholars working in a variety of disciplines, and rather than just describing the social construction of childhood or an understanding of children's lives, this collection seeks to encapsulate not only how young people exist (...) on social media but also how their physical lives are impacted by their presence on social media.One of the aims of this volume in exploring youth interaction with social media is to unpack the structuring of digital technologies in terms of how young people access the technology to use it as a means of communication, a platform for identification, and a tool for participation in their larger social world. During longstanding and continued experience in the broad field of youth and digital culture, we have come to realize that not only is the subject matter increasing in importance at an immeasurable rate, but the amount of textbooks and/or edited collections has lagged behind considerably. There is a lack of sources that fully encapsulate the canon of texts for the discipline or the rich diversity and complexity of overlapping subject areas that create the fertile ground for studying young people's lives and culture. The editors hope that this text will occupy some of that void and act as a catalyst for future interdisciplinary collections.'Young People and Social Media: Contemporary Children's Digital Culture' will appeal to undergraduate students studying Child and Youth Studies and-given the interdisciplinary nature of the collection- scholars, researchers and students at all levels working in anthropology, psychology, sociology, communication studies, cultural studies, media studies, education, and human rights, among others. Practitioners in these fields will also find this collection of particular interest. (shrink)

A COMPANION TO MOTION PICTURES AND PUBLIC VALUE A Companion to Motion Pictures and Public Value brings together original essays by world-renowned scholars investigating the varied intersections of the moving image and the public good. Covering a wide range of types and genres of cinema, this unprecedented volume explores the past, present, and possible future contributions of motion pictures to public value. With a cross-disciplinary approach, the text presents original conceptual work, global perspectives, philosophical (...) arguments, historical discussion, empirical research, and specific case studies of the direct and indirect public value developed through motion pictures. Organized into seven thematic sections, this Companion identifies and discusses the various kinds of values that motion pictures can deliver, including artistic and aesthetic, ethical and moral, spiritual and religious, cultural, environmental, political, and cognitive. Throughout the text, readers are provided with deep insight into the issue of public value as it relates to cinema and its positive impact on human life and society. A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines. (shrink)

Historians of science and the philosophy of science find the substance and stance of Isaac Beeckman's thought highly interesting, for it represented an early attempt to develop a comprehensive picture of the world by means of mechanistic theory, that is, forces acting upon one another. Besides possibly influencing Descartes, this view broke away from medieval religious assumptions and belief in occult forces. Berkel teases out Beeckman's evolving approach to nature by means of his extensive journals, explaining the leading concept (...) of "picturability." Beeckman supplied a stepping stone (one still not widely appreciated) on the path that led to the scientific revolution. (shrink)

En un futuro transhumano o poshumano que ya no queda muy lejos, frente al Ss̕ifo consciente y en realidad infeliz de Camus el autor opta por el mundo de Matrix, porque, insiste, "Yo, como Cioran, querra̕ no haber nacido. Pero, ya que lo hice, querra̕ vivir felizmente en Matrix o en el mundo de Huxley".

In lieu of an abstract, here is a brief excerpt of the content:DEAD MAN WALKING: ON THE CINEMATIC TREATMENT OF LICENSED PUBLIC KILLING Edmund Arens University ofLucerne I regret that so many people do not understand, but I know that they have not watched the state imitate the violence they so abhor. (Sister Helen Prejean) ~T\eadMan Walking, thehighlyacclaimed second film directed by Tim -Z-^Robbins, seems appropriate for discussion in the symposium's context oíFilm andModernity: Violence, Sacrifice andReligion. This film on the (...) one hand thematizes different forms ofviolence and victimization; on the other hand it presents divergent forms ofreligion. And it does so in a way which not only demonstrates the interplay of violence and religion but also opens up the chance of transcending various kinds of sacrificial structures inhabiting that interplay. We can approach DeadMan Walking in five steps. After some general remarks about this film as a work of art, I will briefly review the story line. In the part called Themes and Topics, I will outline some of the predominant topics addressed in this movie. The fourth step is devoted to the interrelation of Violence, Victimization and Redemption. Finally, the religious or theological question comes into view under the heading of Proximity and Testimony, an aspect which at the same time has a definite link to law and the legal system. I. DeadMan Walking as a Work of Art According to Susan Sontag, film "currently is the most vivid, the most stimulating, and the most important of all genres of art" (Sontag 13). But Edmund Arens15 whether a particular film really can be considered as a work of art depends on a number of presuppositions, a few of which I shall mention here. Without going too deeply into the debate on the nature and purpose of aesthetic production, there are at least some requirements which point to a work ofart. Roughly speaking, it is defined by putting matter and form into a certain relation, by creating or producing a certain structure, by adopting a certain style and by organizing the material by means ofgenres (all ofwhich relates to the classical notion of poesis). Secondly, a work of art deals with perception in a double way: while it implies a certain perception ofreality, it also invites the audience to participate in this perception and thus to deepen, alter, or correct the perception that they experienced (something which relates to aisthesis). Thirdly, art aims at having certain emotional effects on the public that are either purifying or edifying (something which since Aristotle has been discussed as katharsis). Ifthese three dimensions (cf. Jauss; Siller) are always involved in works ofart, we can ask how in DeadMan Walking the interplay ofpoesis, aisthesis, and katharsis is at work. Under certain conditions a film is a creative work ofart. In this case, the motion picture, whether documentary or fictitious, includes an aesthetic creation of an imagined reality. It does not simply mirror reality but always reconstructs or reshapes it. In fictional film narrative, everyday reality is disrupted and rearranged by means of a variety of formal and material techniques. The treatment of reality necessarily involves the question of representation. What Paul Ricoeur considered as decisive for narrative fiction, applies to narrative fiction films as well: they make use of "calculated dissonance" which disrupts everyday reality and thereby points to a "redescription ofreality" (Ricoeur 1975; 1976; 1986). We shall see later on how this process, attributed especially to certain metaphors, works in the case ofDeadMan Walking. Besides the topic ofrepresentation, any kind of art raises the question of perception. Art implies a certain perception and at the same time it offers or invites—in the case of visual art—the audience to perceive reality in a different or deeper manner. In amovie the audience, whether by a manipulative "aesthetics of overwhelming"1 or by an aesthetics of disclosing, is moved emotionally and imaginatively, the aim being to direct their attention to the secret ofthe things shown and thus to direct or redirect their view ofreality. From the point of view of a pragmatic theory of action (cf. Arens 1994; 1997b) which additionally takes up Ricoeur's most important insights, I would 'The term has been coined by Heiner Müller; quoted from Kirsner... (shrink)

Aspect-perception is a phenomenon described in detail by L. Wittgenstein in part XI of Philosophical Investigations. The most famous example is the duck-rabbit figure, which can be viewed either as a duck or a rabbit, but the phenomenon extends well beyond visual Gestalt pictures and permeates various fields of human life, including aesthetic, moral and linguistic experience. Recently there have been attempts to apply the notion of aspect-perception to religious faith. It has often been observed that religious (...) faith involves a particular way of ‘seeing’ different objects and events (recall the famous phrase from the hymn Amazing Grace, ‘I once was lost, but now am found; Was blind, but now I see’). For this reason, the attempt to use the category of aspect-seeing to analyze religious faith may appear promising. My aim in this paper to analyze critically one such attempt, made by N. K. Verbin in ‘Religious Belief and Aspect seeing’ and ‘Can Faith be Justified?’. In these papers Verbin argues for two closely related theses regarding religious belief. The first is conceptual; she proposes that we should understand ‘certain kinds of religious beliefs which we view as central to a person having a living faith’ as ‘a type of aspect-seeing’. The second follows from the first: we should modify accordingly the way we construe justification for religious belief. In what follows I expound Verbin’s conceptual claim and present arguments against equating religious belief with seeing religious aspects. Basing myself on examples of people who see religious aspects but do not reach religious belief, I conclude that the two categories should not be conflated. Although I reject Verbin’s overall claim, however, I concede that aspect-seeing does play a significant role in justifying religious belief, although not in the way Verbin proposes. (shrink)

The phenomenon of aspect recognition is at the core of Wittgenstein's later views on logic and language; it is also central to his reflections on religious language and experience. In both contexts, the uptake and use of pictures is the critical element in concept formation and in understanding. Clarity and confusion in religious thought lie in a domain defined by the structure, aesthetics, and functions of the pictures religious people use, and by the relations among (...) them. The argument is conveyed through analyses of experiences of characters in _The Wind in the Willows and Homer's _Odyssey. (shrink)

Rethinking “philosophy” to-day, it is necessary to think first of all about ontological foundations of the modern scientific universe description and rethink them on the ground of modern scientific knowledge, because until now there is no any precise scientific conception of the structure of the universe, of reasons and movingforces of its permanent evolution. All of it create basis to propose various unscientific ideas of creationism. Until now most of philosophers associate the motion of Matter on the whole only (...) with its motion in space and in time, mixing philosophical and physical aspects of these two principle categories. Generally speaking, the present-day ontological model of understanding the World, the Universe is constructed purely on the basis of only these two fundamental categories. However, a more deep reflection of the essence of Being, if to realize it on the basis of only these two global categories, brings us to the disappointing conclusion, that in this case we have nothing more except a mechanical motion, i.e. spatial displacement of a material point (or a system of points) relatively some point of counting off. To make it normal and logic we should add to the ontological model one more essential part – the motion in quality. So, in order to create the full and complete picture of the formation and evolution of the material World it is necessary to observe the motion of material forming in the three equivalentphilosophical categories: in space time quality. The ideas of the new conception of ontological model become actual supplementation of really scientific philosophical knowledge on the way of a more objective ontological comprehension of our Being, of the law of development of the human civilization and the Universe as a whole. This knowledge can be successfully used for the description of the realistic paradigm of Being, in explanations of the meaning of Life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 120-124 [Access article in PDF] Pictures & Tears. a History of People Who Have Cried in Front of Paintings, by James Elkins. London: Routledge, 2001, xiii + 272pp., $26. In "Tears, Idle Tears" from The Princess, Alfred, Lord Tennyson wonders at the tears forming in his eyes as he gazes out across the fields one fall day. The idyllic countryside, far (...) from providing solace, triggers within him a debilitating sadness, an all-encompassing melancholia, manifested by the tears originating from a deep despair; the autumn fields remind Tennyson's narrative persona of all the days that have passed by him.If Tennyson's eyes had fallen not on autumn fields but on a painting of them then the opening lines to "Tears, Idle Tears" might have served as the perfect epigraphic frame to James Elkins's important study of the tears we do and do not shed when looking at art.One of several recent books by the increasingly influential professor at Chicago's School of the Art Institute, Pictures & Tears probes that aspect of our consciousness that has the capacity [End Page 120] to move us to tears when looking at paintings.Shedding tears in front of paintings? Within contemporary culture it seems rather unlikely for someone to respond to a painting by fighting off, or giving in, to tears. Reactions to paintings in previous periods and societies were wholly different from ours, Elkins argues. Paintings not only incited the passions but were blamed for the onset of numerous, serious medical conditions. Though rare today, cases continue to be reported. The Italian psychiatrist Graziella Magherini even coined a term for it in 1989, "Stendhal syndrome," referring to the novelist whose viewing of art in Florence was accompanied by the onset of a form of nervous exhaustion.While the subtitle of Elkins's book suggests a history of crying in front of pictures, leading us to the nearly tearless present, and thus, presumably, to answers about why we no longer cry in front of paintings, A History of People Who Have Cried in Front of Paintings is somewhat misleading. In the truest sense Pictures & Tears is neither a history of crying in front of pictures nor individual histories of those who have. The book does not follow a linear historical narrative of the tears that pictures have evoked over the centuries. Rather, Elkins's chapters constitute a tableau, the accumulation of fragments, with alternating chapters exploring, first, a particular work of art and the tears it has evoked and, second, ruminations on why that might be the case.At the heart of Elkins's argument is a concern over why we no longer seem willing, or indeed able, to have emotional responses to paintings. Besides the occasional grand response to works of art, particularly those vested withsignificant religious meaning, few admit to intimate connections with paintings. Elkins wants to know why.To answer these questions, Elkins turned to colleagues as well as to people he had never met. His research for the book included letters to fellow scholars and peers, and open calls in newspapers and journals, requesting stories from anyone moved to tears on encountering a painting. He received more than four hundred responses, many of which are included in a substantial appendix. The responses themselves make for an intriguing read and from them Elkins builds a two-pronged argument: we now live in an age that is marked by "stoic intellectualism" (p. 163), yet we still have the capacity to feel an intimate connection to paintings. Art in recent years has demanded greater intellectual engagement, lessintimate involvement. There may be exhibitions that fuel fear, distrust, anger, or rage but these are alienating to the works themselves, although these feelings can certainly be as intense as the more intimate connection that Elkins equates with falling in love.What is it about viewing paintings, as opposed to film or theater, he asks, which prevents full emotional expression? Is it the accoutrements used to view gallery paintings — the exhibition catalogs... (shrink)

This richly detailed biography captures both the personal life and the scientific career of Isaac Newton, presenting a fully rounded picture of Newton the man, the scientist, the philosopher, the theologian, and the public figure. Professor Westall treats all aspects of Newton's career, but his account centers on a full description of Newton's achievements in science. Thus the core of the work describes the development of the calculus, the experimentation that altered the direction of the science of optics, and (...) especially the investigations in celestial dynamics that led to the law of universal gravitation. (shrink)

What is Aristotle's considered view of animal self-motion? According to several scholars, Aristotle ends up rejecting this very notion as a result of his criticism of Plato's theory of a self-moving soul. Contrary to this still widespread assumption, the present study argues that his critical engagement with Plato is not confined to negative results, but achieves largely positive outcomes, which add up to a rich and nuanced picture of self-motion. Ferro makes his case by offering a novel reading (...) of a handful of controversial passages from De Anima and Physics VIII, where Aristotle reacts to three aspects of Plato's theory of self-motion: the claim that soul itself is a self-mover, the assumption that self-movers enjoy strong causal autonomy, and the link between motion, desire and soul partition. Through a careful reading of the relevant passages, which does justice to their proper context and significance, Ferro shows that Aristotle's critical re-appropriation of self-motion results in a largely coherent doctrine with major repercussions for Aristotelian psychology and philosophy of nature. (shrink)

In The Phenomenology of Religious Belief, the renowned philosopher Michael J. Shapiro investigates how art - and in particular literature and film - can impact upon both traditional interpretations and critical studies of religious beliefs and experiences. In doing so, he examines the work of prolific and award-winning writers such as Toni Morrison, Philip K. Dick and Robert Coover. By placing their work in conjunction with critical analyses of media by the likes of Ingmar Bergman and Pier Paolo (...) Pasolini and combining it with the work of groundbreaking thinkers such as George Canguilhem, Giorgio Agamben and Slavoj Žižek, Shapiro takes a truly interdisciplinary approach to the question of how life should be lived. His assessment of phenomenological subjectivity also leads him to question the nature of political theology and extend the criticism of Pauline theology. (shrink)

_Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.

This article tries to make sense of the concept of repetition in Søren Kierkegaard’s works. According to Kierkegaard repetition is a temporal movement of existence. What is repetition and what is its meaning for human existence? In answering this question the Danish philosopher depicts repetition by comparing three different approaches to life. Throughout the article I try to develop a coherent argument on ‘the new philosophical category’by analysing the three types of repetition and their corresponding human prototypes. I consider repetition (...) a key concept in summarizing Kierkegaard’s theory of existence, where existence pictures the becoming of the human-self that follows several stages. Constantin Constantius’s repetition is an unsuccessful attempt, an aesthetic expression of human-life. The young lover’s repetition is spiritual, albeit not yet authentic, religious, but more poetic, even if he regains his self. Only Job’s repetition is an authentic movement of existence, an expression of a spiritual trial and of genuine faith. (shrink)

Thomas Hobbes often includes powers and abilities in his descriptions of the world. Meanwhile, Hobbes’s philosophical picture of the world appears quite reductive, and he seems sometimes to say that nothing exists but bodies in motion. In more extreme versions of such a picture, there would be no room for powers. Hobbes is not an eliminativist about powers, but his view does tend toward ontological minimalism. It would be good to have an account of what Hobbes thinks powers are, (...) and how they fit into his understanding of the world. In this chapter, I investigate Hobbes’s account of the metaphysics of powers and abilities. Section 1 considers three important aspects of Hobbes’s account of powers: the connection between powers and causes; the modal aspects of powers; and the connection between powers and motions. Sections 2 and 3 then consider interpretive arguments about whether Hobbes identifies powers with underlying corporeal features. (shrink)

There is a certain ambiguity in Descartes’ Meditations, as there is any great sphere of endeavor. How, after all, does one bridge the gap between the autobiographical “I” of the Discourse and the Meditations, and the world of learned scholarship; the “guardians of tradition”, both religious and temporal? How does one mediate the way in which one is received by the tradition which has so eloquently been put out of play in the pursuit of one’s personal project? In short, (...) how can Descartes ensure that his pioneering work is not misunderstood; that it is not viewed as a threat to religious and national institutions?In reflecting on these questions, I believe Descartes arrived at a concept of community which sought to balance personal autonomy with institutional obligation in such a way that the scientist’s ultimate judgment was preserved, while proximately acknowledgement was made of the prevailing scientific and religious “world picture”, and only challenged obliquely.Thus, there is a certain tension in Descartes’ theorizing about community, a tension which was quite naturally carried over into his practical community relationships. Furthermore, I will argue that Descartes’ “tool” for getting around in these tension filled community situations is what I shall call his doctrine of “order and intention”. Ultimately, it is this reliance upon intentionality which throws his “balance” out of balance, and gives rise to repeated charges of “dissimulation”. How this situation came to pass, and Descartes’ tortuous attempts at resolving the emerging problems, is largely the subject of the following pages. (shrink)

The aspects family -- A. the duck-rabbit -- B. the necker cube -- Faces, faces, faces -- Illusions -- E. "puzzle-pictures" -- Aspects and words -- A. introspection and experiment -- B. how we do things with words -- How we see things with words -- Aspect blindness -- A. imagination -- B. aspect blindness -- Fat wednesday -- Aspects and art -- A. experience -- B. seeing a painting -- Musical aspects -- Emergent meaning (...) and wine -- Ethics and aesthetics are one -- A. science -- B. from a religious point of view. (shrink)

Human mobility is dramatically on the rise; globalization and modern technology have increased transportation and migration. Frequent journeys over large distances cause huge energy consumption, severely impact local and global natural environments and raise spiritual and ethical questions about our place in the world. 'Spaces of Mobility' presents an analysis of the socio-political, environmental, and ethical aspects of mobility. The volume brings together essays that examine why and how modern modes of transport emerge, considering their effect on society. The (...) religious significance of contemporary travel is outlined, namely its impact on pilgrimage, Christology and ethics. The essays examine the interaction between humans and their surroundings and question how increased mobility affects human identity and self-understanding. 'Spaces of Mobility' will be of interest to students and scholars seeking to understand the impact of mobility on modern culture and society, the ethics behind contemporary transport systems and the conditions of immigrants in a world of constant travel. (shrink)

Human mobility is dramatically on the rise; globalization and modern technology have increased transportation and migration. Frequent journeys over large distances cause huge energy consumption, severely impact local and global natural environments and raise spiritual and ethical questions about our place in the world. 'Spaces of Mobility' presents an analysis of the socio-political, environmental, and ethical aspects of mobility. The volume brings together essays that examine why and how modern modes of transport emerge, considering their effect on society. The (...) religious significance of contemporary travel is outlined, namely its impact on pilgrimage, Christology and ethics. The essays examine the interaction between humans and their surroundings and question how increased mobility affects human identity and self-understanding. 'Spaces of Mobility' will be of interest to students and scholars seeking to understand the impact of mobility on modern culture and society, the ethics behind contemporary transport systems and the conditions of immigrants in a world of constant travel. (shrink)

Introduction : schizoanalysis, digital screens and new brain circuits -- Schizoid minds, delirium cinema and powers of machines of the invisible -- Illusionary perception and powers of the false -- Surveillance screens and powers of affect -- Signs of time : meta/physics of the brain-screen -- Degrees of belief : epistemology of probabilities -- Powers of creation : aesthetics of material-force -- The open archive : cinema as world-memory -- Divine in(ter)vention : micropolitics and resistance -- Logistics of perception 2.0 (...) : multiple screens as affective weapons -- Conclusion : the neuro-image : brain-screens from the future. (shrink)

"A book well worth reading as its expose of postmoderism has a clarity others would do well to imitate." --Tim Gay in NATFHE Journal Blue Velvet, sex, lies and videotape, Do the Right Thing, and Wall Street are just some of the provocative films that Denzin explores for their portrayal of the postmodern self. He examines the basic thesis that members of the contemporary world are voyeurs who, adrift in a sea of symbols, recognize and anchor themselves through cinema and (...) television. He skillfully weaves this idea back and forth between two kinds of texts: social theory, including poststructuralism, postmodernism, feminism, and marxism; and cinematic representations of life in modern America. The result is a solid assertion that postmodernism has shaped a dramaturgical society where the image has tragically replaced reality. Denzin offers a powerful reading of postmodern American society and the cinematic selves, however distorted, that inhabit this fantasy world. At the same time, he outlines the main contours of postmodern sociology and a postmodern sociological imagination that is responsive to the current historical moment. Images of Postmodern Society will play a key role in understanding the powerful relationship between postmodernism and the cinema for upper level graduates, gradate students, and contemporary scholars of cultural studies, communications, political science, anthropology, sociology, education, history, literary and cinema studies. "The book could be usefully incorporated into undergraduate sociology courses, particularly those that consider media and society, where it might serve as a basis for further discussion and examination of some important issues." --Journal of Communication "Images of Postmodern Society is a good book on two different levels. First, Denzin advances his own theory of postmodernism and, more specifically, of what he calls the "postmodern self," that is interesting and provocative. Second, this is one of the few books on postmodernity that is truly practical, in the sense that the book would be quite a good text to use in courses on the subject, whether they be in philosophy, sociology, film and media studies, cultural studies, and perhaps even anthropology. . . . I would certainly like to use the book for this purpose myself, and I would recommend the book for that purpose to colleagues in the departments mentioned." --Bill Martin, Philosophy Department, DePaul University "Denzin uncovers a profoundly important tension in postmodern culture . . . His work, then, demonstrates that the 'abundance of meaning' found in these films lies in the collision of modernist and postmodernist depictions of cultural practice." --Contemporary Sociology "Norman Denzin, one of the most interesting theorists and ethnographers in American sociology, has turned his critical eye to postmodern theory and contemporary American culture and society. Revitalizing Mills' sociological imagination, Denzin addresses the relations between Hollywood films of the 1980s, their constructions of self, and the structures of lived experience. He offers a postmodern sociology which addresses the increasingly conservative basis of postmodern ideologies of race, class, and gender. It offers an original postmodern critique of the postmodern. Images of Postmodern Society should be and will be widely read and discussed." --Larry Grossberg, University of Illinois. (shrink)

Clown characters have always played a decisive role when depicting social conflicts. Wearing their masks, they embody and reveal cultural anxieties.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Fredric Jameson and The Wolf of Wall Street offers a concise introduction to Jameson in jargon-free language and shows how his Marxist theories can be deployed to interpret Martin Scorsese's critically acclaimed 2013 film (...) The Wolf of Wall Street. Beginning with a detailed account of Jameson's extensive writings on Marxist theory and how they have been deployed in the analysis of film writings, Clint Burnham then illustrates how Jameson's theory can help to make sense of The Wolf of Wall Street, a film that shows in all its glory the excesses, lunacies, and inner workings of 1990s finance capitalism. As Jameson has influentially argued, films like The Wolf of Wall Street are both complicit in and critical of their historical subject: Scorsese's film is not about the richest stockbrokers, but the Long Island penny traders who made it big. As a narrative of American success, it is also a film about failure. Clint Burnham's reading of Jameson and The Wolf of Wall Street is a book about a contemporary film, and contemporary events, and contemporary theory. (shrink)

The range of topics in this volume covers a multitude of historical periods and topics, which in turn figure in the new media environments of contemporary life. These include discussions of the Aristotelian and classical models of a "good life" that inform animated fairy tales today, 1930s French and Hollywood films which respond to the dire need for productive human relationships in a turbulent decade, the polemical positions of black film criticism through the lens of James Baldwin's work, a discussion (...) of contemporary filmic quests for happiness, the challenges for women filmmakers today in mapping the values of their own world, landscapes of austerity and poverty in the cinematic homelands today, the scientific, psychological, and philosophical base for human value, and the shifting media frames of modern society and selves. (shrink)

My main concern in this article is the relevance of theoretically integrative approaches. I argue that such approaches are methodologically better equipped for the psychology of religion because they correspond with the inherent complexity of religiosity. In order to concretize this matter I critically evaluate the hypothesis proposed by some cognitive researchers that the attraction of counter-intuitive representations provides an explanation of religion. Irrelevant aspects are left out in this hypothesis. In contrast to this I rely on cognitive-analytic perspectives (...) that are based on a broader theoretical foundation. This generates a more complete picture that also connects to the tradition built on Otto's idea of the wholly other. From this perspective it is more plausible to assume that religious representations are trajectories of the early evolving tripartite sense of self, other and world and, further, formed by individual mentalization capacity. This can be conceptualized in terms of interplay between specific complex representational constellations rooted in different phases of early development. Integrative approaches that depict mental activity as a dynamic and multifaceted phenomenon embedded in intersubjectivity are relevant for the psychology of religion. (shrink)

Yashastilaka by Somadeva, composed in ce 959, is a Jaina religious romance written in Sanskrit prose and verse. It is notable as an encyclopaedic record of literary, socio-political, religious and philosophical data that throws light on the cultural history of the Deccan in early medieval India. This volume presents a critical study of the work, providing a comprehensive picture of the life and thought of the time of Somadeva. It begins with a discussion on Somadeva and his age (...) and gives a synopsis of Yashastilaka. it examines the Yashastilaka as a prose and a religious romance, a socio-political record and as an anthology of Sanskrit verse. The book discusses various philosophical doctrines in Indian thought. With many detailed references and footnotes, it reveals the Yashastilaka as a work that expounds the cardinal teachings of Jainism. It throws light on Jaina dogmatics, religious poetry, moral and religious stories, and myths and legends in the process of examining the work. The volume also has supplementary notes incorporating the results of studies on Somadeva's relations with the Vemulavada Calukyas and the locality in which he wrote his masterpiece. (shrink)

Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear (...) of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

Joshua Foa Dienstag engages in a critical encounter with the work of Stanley Cavell on cinema, focusing skeptical attention on the claims made for the contribution of cinema to the ethical character of democratic life.

Cinema Pessimism explores the challenges of representative democracy through film. Film allows us to see the problems of democracy from a unique perspective, illuminating dangers that are not always visible to us either from day-to-day experience or the classics of democratic theory. Joshua Foa Dienstag argues that there are threats lurking in our political systems that we fail to perceive due to the many pleasures that representation provides. Ultimately, Dienstag seeks to defend a kind of pessimistic politics that might produce (...) a better sort of democratic representation than what we have today. (shrink)

The memory of cinema -- The queer attractions of perceptual belief -- A virtual presence in space -- Harun Farocki's liberated consciousness -- The force of small gestures -- Epilogue: welcome to this situation.

Cinema has long played a crucial role in the way that societies remember and represent themselves. In the last quarter century, film has been an important medium in the public debate around the memory of the Holocaust and of Hiroshima; of the Algerian war for independence and of the Spanish Civil War; of the Allende legacy in Chile, the utopian dreams of 1968, and the aborted project of the German Democratic Republic; in identity formation in Palestine and in the African (...) diaspora. Hedges discusses the role of cinema within a global perspective that spans five continents, and proposes an original typology of cultural memory. In the process, she re-evaluates the contributions of major directors and uncovers hitherto neglected yet important works. The author develops her arguments in an approachable style that will encourage readers to rethink their own memories of films and to reflect on the way that cinema contributes to collective and cultural memory. The book's innovative approach should transform the way that we think of film and its social effects. (shrink)

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.

This book is an easy-to-read, fun and provocative discussion of how to understand, appreciate, and evaluate film. Written by professor and film guru Michael Gose, the book is loved by students and moviegoers alike.

Part I : The metaphysics of spoilers. A brief history of spoilers -- What are spoilers? -- Things that can never be spoiled -- What else can be spoiled? -- Vagueness and spoilers -- Part II : The ethics of spoilers. Is it bad to spoil? -- The badness of spoiling -- When is it wrong to spoil? -- When you should spoil -- The timing of spoilers -- The ethics of spoiler alerts -- Part III: The pragmatics of spoilers. (...) Paradoxes of spoiling -- Spoiling remakes and some other tricky cases -- Are our reactions to spoilers justified? -- Culture, relativism, and spoilers -- What to do when you encounter someone who spoils. (shrink)

感情の取り締まり(ポリシング)、トランス排除、宗教右派からポストトゥルースまで。透徹した思考に貫かれた論考群。.

Exploring 80s genres and movies with both a sociocultural and aesthetic eye, this book will be invaluable to historians, cinema scholars, and film buffs.

This book is a critical attempt to approach world cinema in a new global frame that updates the national frame of territorial cinemas and the transnational frame of their interplay. The global frame implies the reintegration of border-crossing forces onto the postpolitical plane of troubled globalization with two ethical facets: the soft ethical inclusion of differences in multicultural, neoliberal systems and their hard ethical symptoms of fundamentalist exclusion and terror. Reflecting both, global cinema is formulated as staging crucial challenges that (...) today's globalism and its antinomies bring to the notions of subjectivity and community. Many films indeed depict the antagonism between the inclusive global system and its excluded remnants, allegorizing the impossible political change in various modes of catastrophe and nihilism. A global community often takes on a totalized network of sovereign violence and (counter)terror stuck in the impasse of utopian imagination. Yet some films suggest alternative ethics irreducible to collective politics when abject figures, deprived of social subjectivity and rights, become contingent agents of existential 'gift-giving' by fostering commonality without community, solidarity without unity. The psychoanalytic notion of abjection is redefined here as both the biopolitical mode of bare life and its potential for the ethical agency that opens atopian, if not utopian, networking on the edge of the global regime beyond the problematic 'soft/hard' ethics of tolerance/violence or pity/hate. This precarious yet precious abject agency is explored through a vast net of globally circulating contemporary films and a core cluster of political, ethical, and psychoanalytic philosophies. (shrink)

Uses cinema both to depict a variety of situations in which questions of media ethics arise, and to illustrate classic and contemporary ethical theories.

Designed for classroom use, this authoritative anthology presentskey selections from the best contemporary work in philosophy offilm. The featured essays have been specially chosen for theirclarity, philosophical depth, and consonance with the current movetowards cognitive film theory Eight sections with introductions cover topics such as thenature of film, film as art, documentary cinema, narration andemotion in film, film criticism, and film's relation to knowledgeand morality Issues addressed include the objectivity of documentary films,fear of movie monsters, and moral questions surrounding the (...) viewingof pornography Replete with examples and discussion of moving picturesthroughout. (shrink)

Norbert Elias’s project in The process of civilization involved reconstructing invisible movement—both the slow tempoof long-term historical change and the modification of psychic structures and embodied dispositions. To do this, he resorted to uncommon devices: treating historical texts as constituting a series amenable to a rudimentary discourse analysis, he constructed an imagined ‘curve of civilization’ serving as an approximation of the hidden process of change. Elias’s curve was not supposed to represent single past states, but movement itself, its direction and (...) pace. This novel concept of historical representation was related to the perception of cinema as a new medium making actual movement visible. But beyond making it possible to imagine how one could telescope long-term historical process, cinema also held the promise of serving as a microscope, making the minute movements of the human body, gestures and manners available for close inspection. While anthropologists were devising ways of using the new medium to document fleeting gestures and bodily postures, it was used by popular audiences as a source for remodelling behaviour and acquiring polite manners and body techniques, as noticed by such acute observers as Marcel Mauss and Joseph Roth. Hence, popular appropriation of the cinema gave rise to a heightened awareness of the historicity of gestures and the changing modalities of their transmission. Cinema was itself part of the accelerated motion of history, of a perceived change of pace in the process of civilization, which in its turn shed light on its historical antecedents and played an essential role in rethinking the notion of civilization and culture.Keywords: Norbert Elias; Marcel Mauss; Joseph Roth; Cinema; Gestures; Body; Discourse; Historiography; Sociology of culture. (shrink)