Book Reviews

in Projections
Author:
Wyatt Moss-Wellington University of Nottingham Ningbo, China

Search for other papers by Wyatt Moss-Wellington in
Current site
Google Scholar
PubMed
Close
,
Dooley Murphy PhD, University of Copenhagen, Denmark hello@dooleymurphy.com

Search for other papers by Dooley Murphy in
Current site
Google Scholar
PubMed
Close
,
Robert Sinnerbrink Macquarie University, Australia robert.sinnerbrink@mq.edu.au

Search for other papers by Robert Sinnerbrink in
Current site
Google Scholar
PubMed
Close
, and
Kirsten Moana Thompson Seattle University, USA thompski@seattleu.edu

Search for other papers by Kirsten Moana Thompson in
Current site
Google Scholar
PubMed
Close
Restricted access

Martin P. Rossouw. Transformational Ethics of Film. Leiden: Brill, 2021, 316 pp., $150.00 (hardback), ISBN: 9789004459953.

Grant Tavinor. The Aesthetics of Virtual Reality. New York: Routledge, 2021, 163 pp., $160.00, ISBN: 9780367619251.

Rebecca A. Sheehan. American Avant-Garde Cinema's Philosophy of the In-Between. Oxford: Oxford University Press, 2020, 292 + xi pp., $41.95 (paperback), ISBN: 9780190949716.

Deborah Walker-Morrison. Classic French Noir: Gender and the Cinema of Fatal Desire. London: I.B. Tauris, 2019, 272 pp., $77.00, ISBN 9781350157446.

Contributor Notes

Wyatt Moss-Wellington is Associate Professor in Media and Culture at the University of Nottingham Ningbo China. His books include Cognitive Film and Media Ethics (2021), Narrative Humanism (2019), and ReFocus: The Films of Spike Jonze (2019). Moss-Wellington is also a progressive folk multi-instrumentalist and singer-songwriter with four studio albums: The Kinder We (2017), Sanitary Apocalypse (2014), Gen Y Irony Stole My Heart (2011) and The Supermarket and the Turncoat (2009).

Dooley Murphy recently received his doctorate from the University of Copenhagen, Department of Communication, where he wrote a monographic thesis exploring the form and function of VR art and entertainment. He has previously published, presented, and produced video essays on VR participant experience, the structure and process of playful media, and narrational and design strategies in interactive storytelling. E-mail: hello@dooleymurphy.com

Robert Sinnerbrink is Associate Professor of Philosophy at Macquarie University. He is the author of New Philosophies of Film: An Introduction to Cinema as a Way of Thinking (Bloomsbury, 2022), Terrence Malick: Filmmaker and Philosopher (Bloomsbury, 2019), and Cinematic Ethics: Exploring Ethical Experience through Film (Routledge, 2016). Email: robert.sinnerbrink@mq.edu.au.

Dr. Kirsten Moana Thompson is Professor and Director of Film and Media Studies at Seattle University. She teaches and writes on animation and color studies, as well as American and Pacific film and visual culture. She is the author of Animation and Advertising (co-edited with Malcolm Cook, 2019); Apocalyptic Dread: American Cinema at the Turn of the Millennium (2007); Crime Films: Investigating the Scene (2007), and Perspectives on German Cinema (co-edited with Terri Ginsberg, 1996). Email: thompski@seattleu.edu.

  • Collapse
  • Expand

Projections

The Journal for Movies and Mind

  • Deleuze, Gilles. 2000. “The Brain is the Screen: An Interview with Gilles Deleuze.” In The Brain Is the Screen, ed. Gregory Flaxman, 365373. Minneapolis: University of Minnesota Press.

    • Search Google Scholar
    • Export Citation
  • Sobchack, Vivian. 2009. “Phenomenology.” In The Routledge Companion to Philosophy and Film, ed. Paisley Livingston and Carl Plantinga, 435445. New York: Routledge.

    • Search Google Scholar
    • Export Citation
  • Visagie, Johann. 1999. “Transformational Ethics: The Structures of Self-Creation.” Unpublished Manuscript. University of the Free State.

    • Search Google Scholar
    • Export Citation
  • Bolter, Jay David, and Richard Grusin. 1999. Remediation: Understanding New Media. Cambridge: The MIT Press.

  • Carroll, Noël, Margaret Moore, and William Seeley. 2011. “The Philosophy of Art and Aesthetics, Psychology, and Neuroscience.” In Aesthetic Science, ed. Arthur Shimamura and Stephen E. Palmer, 3162. Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199732142.003.0019.

    • Search Google Scholar
    • Export Citation
  • Colinart, Arnaud.2017. Notes on Blindness: Into Darkness. VR Experience. http://www.notesonblindness.co.uk/vr/.

  • Duncan, Seth, and Lisa Feldman Barrett. 2007. “Affect Is a Form of Cognition: A Neurobiological Analysis.” Cognition & Emotion 21 (6): 11841211. https://doi.org/10.1080/02699930701437931.

    • Search Google Scholar
    • Export Citation
  • Elleström, Lars.2010. “The Modalities of Media: A Model for Understanding Intermedial Relations.” In Media Borders, Multimodality and Intermediality, ed. Lars Elleström, 1148. London: Palgrave Macmillan. https://doi.org/10.1057/9780230275201_2.

    • Search Google Scholar
    • Export Citation
  • Grau, Oliver.2003. Virtual Art: From Illusion to Immersion. Cambridge: The MIT Press.

  • Juul, Jesper.2019. “Virtual Reality: Fictional All the Way Down (and That's OK).” Disputatio 11 (55): 33343. https://doi.org/10.2478/disp-2019-0010.

    • Search Google Scholar
    • Export Citation
  • Plantinga, Carl.2005. “What a Documentary Is, After All.” The Journal of Aesthetics and Art Criticism 63 (2): 105117.

  • Wollheim, Richard.1998. “On Pictorial Representation.” The Journal of Aesthetics and Art Criticism 56 (3): 217226. https://doi.org/10.2307/432361.

    • Search Google Scholar
    • Export Citation
  • Carroll, Noël.2006. “Philosophizing through the Moving Image: The Case of Serene Velocity,” The Journal of Aesthetics and Art Criticism 64 (1): 173185.

    • Search Google Scholar
    • Export Citation
  • Mulhall, Stephen.2002. On Film. London and New York: Routledge.

  • Rodowick, David. N. 2014. An Elegy for Theory. Cambridge, MA. and London: Harvard University Press.

  • Rodowick, David. N.. 2015. Philosophy's Artful Conversation. Cambridge, MA. and London: Harvard University Press.

  • Sitney, P. Adams.2002. Visionary Film: The American Avant-Garde, 1943–2000, 3rd ed. Oxford: Oxford University Press.

  • Taberham, Paul. 2018. Lessons in Perception: The Avant-Garde Filmmaker as Practical Psychologist. New York and Oxford: Berghahn Books.

  • Turvey, Malcolm. 2019. “Avant-Garde Films as Philosophy.” In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, ed. Noël Carroll, Laura Di Summa, and Shawn Loht, 573600. Cham: Palgrave Macmillan.

    • Search Google Scholar
    • Export Citation
  • Cook, Pam. 1978.”Duplicity in Mildred Pierce.” In Women in Film Noir, ed. E. Ann Kaplan, 6980. London: British Film Institute.

  • Dimendberg, Edward. 2004. Film Noir and the Spaces of Modernity. Cambridge: Harvard University Press.

  • Doane, Mary Ann.1983. “Gilda: Epistemology as Striptease.” Camera Obscura 4 (11): 627.

  • Duchen, Claire.1994. Women's Rights and Women's Lives in France, 19441968. London: Routledge.

  • Fay, Jennifer, and Justus Nieland. 2010. Film Noir: Hard Boiled Modernity and the Cultures of Globalization. New York: Routledge.

  • Kaplan, E. Ann, ed. Women in Film Noir. 1978. London: British Film Institute.

  • Place, Janey.1978. “Women in Film Noir.” In Women in Film Noir, ed. E. Ann Kaplan, 4768. London: British Film Institute.

  • Rolls, Alistair and Deborah Walker. 2009. French and American Noir. London: Palgrave.

  • Spicer, Andrew, ed. 2007. European Film Noir. Manchester and New York: Manchester University Press.

Metrics

All Time Past Year Past 30 Days
Abstract Views 2723 1446 863
Full Text Views 146 17 0
PDF Downloads 140 20 0