Book Reviews

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  • 1 New York University gb1610@nyu.edu
  • 2 William Paterson University disummaknoopl@wpunj.edu
  • 3 Baylor University joe_kickasola@baylor.edu
  • 4 Leiden University p.w.j.verstraten@hum.leidenuniv.nl
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Contributor Notes

Gianni Barchiesi is a PhD Candidate in the Cinema Studies Department at New York University. His dissertation describes, through the tools of the enactive theory of perception, the defining qualities of the perceptual experience of various forms of the moving image, and it elaborates upon these qualities’ medium specificity claims for the contemporary media landscape. Email: gb1610@nyu.edu

Laura T. Di Summa is an Assistant Professor of Philosophy at William Paterson University. Her research focuses mainly on aesthetics, on the philosophy of motion pictures, and on aesthetic practices that affect our daily life and identity. She has recently coedited an anthology, with Noël Carroll and Shawn Loht, The Palgrave Handbook for the Philosophy of Film and Motion Pictures, and she is working on a book on fashion and film. Email: disummaknoopl@wpunj.edu

Joseph G. Kickasola is Professor of Film and Digital Media, Baylor University, and the Director of the Baylor in New York program. He is the author of the monograph The Films of Krzysztof Kieślowski: The Liminal Image and other essays in the areas of film theory, film aesthetics, and religion and film. Email: joe_kickasola@baylor.edu.

Peter Verstraten is Assistant Professor Film and Literary Studies at Leiden University. His publications include Film Narratology (University of Toronto Press, 2009) and Humour and Irony in Dutch Post-War Fiction Film (Amsterdam University Press, 2016). Email: p.w.j.verstraten@hum.leidenuniv.nl

Projections

The Journal for Movies and Mind

  • Anderson, Joseph. 1996. The Reality of Illusion: An Ecological Approach to Cognitive Film Theory. Carbondale: Southern Illinois University Press.

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  • Bordwell, David. 2011. “Common Sense + Film Theory = Common-Sense Film Theory?”, David Bordwell's Website on Cinema, May. http://www.davidbordwell.net/essays/commonsense.php.

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  • Carroll, Noël. 1985. “The Power of Movies.” Daedalus 114 (4): 79103. https://www.jstor.org/stable/20025011.

  • Grodal, Torben. 2009. Embodied Visions: Evolution, Emotion, Culture, and Film. New York: Oxford University Press.

  • Peterson, James. 1994. Dreams of Chaos, Visions of Order: Understanding the American Avant-Garde Cinema. Detroit: Wayne State University Press.

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  • Smith, Murray. 2017. Film, Art, and the Third Culture: A Naturalized Aesthetics of Film. New York: Oxford University Press.

  • Wees, William. 1992. Light Moving in Time: Studies in the Visual Aesthetics of Avant-Garde Film. Berkeley: University of California Press.

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  • Clark, Andy, and David Chalmers. 1998. “The Extended Mind.” The Philosopher's Annual 21: 5974. http://consc.net/papers/extended.html.

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  • Eitzen, Dirk. 1995. “When Is a Documentary? Documentary as a Mode of Reception.” Cinema Journal 35 (1): 81102. doi:10.2307/1225809.

  • Nichols, Bill. 1991. Representing Reality: Issues and Concepts in Documentary. Bloomington: Indiana University Press.

  • Pearlman, Karen. 2016. Cutting Rhythms: Intuitive Film Editing. 2nd ed. New York: Focal Press.

  • Nyren, Erin. 2019. “Martin Scorsese Does Not Recommend Watching ‘The Irishman’ on a Phone: ‘A Big iPad, Maybe.’Variety, 1 December. https://variety.com/2019/film/news/martin-scorsese-the-irishman-watching-phone1203420472/.

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  • Ryan, Marie-Laure. 1999. “Immersion vs. Interactivity: Virtual Reality and Literary Theory.” SubStance 28 (2): 110137. doi:10.2307/3685793.

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