Book Reviews

in Projections
Author:
Robert Blanchet Researcher, University of Zurich, Switzerland blanchet@fiwi.uzh.ch

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David Davies Professor, McGill University, Canada david.davies@mcgill.ca

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Pia Tikka Researcher, Tallinn University, Estonia piatikka@tlu.ee

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Szilvia Ruszev Film Editor, Freelance sruszev@bournemouth.ac.uk

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DOI:
https://doi.org/10.3167/proj.2024.180108
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Noël Carroll. Philosophy and the Moving Image. Oxford: Oxford University Press, 2021, 416 pp., $80.00 (hardcover), ISBN: 9780190683306.

Catharine Abell. Fiction: A Philosophical Analysis. Oxford: Oxford University Press, 2020, 208 pp., $73.00 (hardcover), ISBN: 9780198831525.

Carol Vernallis, Holly Rogers, Jonathan Leal, and Selmin Kara, eds. Cybermedia: Explorations in Science, Sound, and Vision. London: Bloomsbury, 2021, 472 pp., $48.55, ISBN: 9781501357039.

Julie Lambden. Film Editing: Emotion, Performance, and Story. London: Bloomsbury Academic, 2022, 232 pp., $56.65 (paperback), ISBN: 9781474254908.

Contributor Notes

Robert Blanchet is a PhD Candidate at the Department of Film Studies at the University of Zurich, where he is working on his dissertation on empathy. He is the author of Blockbuster: Ästhetik, Ökonomie und Geschichte des postklassischen Hollywoodkinos (2003), the co-editor of New Hollywood bis Dogma 95: Einführung in die Filmgeschichte, Band 3 (2008), and the co-editor of Serielle Formen: Von den frühen Film-Serials zu aktuellen Quality-TV- und Onlineserien (2011). E-mail: blanchet@fiwi.uzh.ch

David Davies is Professor of Philosophy at McGill University. His research focuses mainly on issues in the ontology and epistemology of art, and on philosophical issues concerning fiction. Email: david.davies@mcgill.ca

Pia Tikka, PhD, is a Filmmaker and Research Professor at the Baltic Film, Media, and Arts School, Tallinn University, where she leads a neurophenomenological research project on filmmakers’ embodied and enactive creativity. Email: piatikka@tlu.ee

Szilvia Ruszev is a Film Editor, Media Artist and Researcher working across media currently holding a position as a Senior Lecturer in Post Production at Bournemouth University. Email: sruszev@bournemouth.ac.uk

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Projections

The Journal for Movies and Mind

Cover Projections
Article Category:
Book Review
Page Count:
18
Print Publication Date:
01 Mar 2024
Online Publication Date:
01 Mar 2024
Copyright:
© The Author/s 2024

  • Eaton, Anne W. 2012. “Robust Immoralism.” The Journal of Aesthetics and Art Criticism 70 (3):281–292. https://doi.org/10.1111/j.1540-6245.2012.01520.x.

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  • Eaton, Anne W. 2013. “Reply to Carroll: The Artistic Value of a Particular Kind of Moral Flaw.” The Journal of Aesthetics and Art Criticism 71 (4): 371–376. https://doi.org/10.1111/jaac.12036

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  • Gaut, Berys. 2010. A Philosophy of Cinematic Art. Cambridge: Cambridge University Press.

  • Kivy, Peter. 1997. “Music in Movies: A Philosophical Enquiry.” In Film Theory and Philosophy, ed. Richard Allen and Murray Smith, 308–328. Oxford: Clarendon Press.

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  • Livingston, Paisley. 2006. “Theses on Cinema as Philosophy.” The Journal of Aesthetics and Art Criticism 64 (1): 11–18. https://doi.org/10.1111/j.0021-8529.2006.00225.x

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  • McIver Lopes, Dominic. 2014. Beyond Art. Oxford: Oxford University Press.

  • Smith, Murray. 2006. “Film Art, Argument, and Ambiguity.” The Journal of Aesthetics and Art Criticism 64 (1): 33–42. https://doi.org/10.1111/j.0021-8529.2005.00227.x

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  • Abell, Catherine. 2022. “Reply to Currie's and Gilmore's Comments.” British Journal of Aesthetics 62 (2): 195–204. https://doi.org/10.1093/aesthj/ayab038

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  • Currie, Gregory. 1990. The Nature of Fiction. Cambridge: Cambridge University Press.

  • Davies, David. 2007. Aesthetics and Literature. London: Continuum.

  • Gilmore, Jonathan. 2022. “Commentary on Fiction: A Philosophical Analysis, by Catharine Abell; and Imagining and Knowing: The Shape of Fiction, by Gregory Currie.” The British Journal of Aesthetics 62 (2): 173–183. https://doi.org/10.1093/aesthj/ayab026

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  • Stock, Kathleen. 2017. Only Imagine: Fiction, Interpretation, and Imagination. Oxford: Oxford University Press.

  • Bulgakowa, Oksana. 2001. “The Evolving Eisenstein: Three Theoretical Constructs of Sergei Eisenstein.” In Eisenstein at 100: A Reconsideration, ed. Al Lavalley and Barry P. Scherr, 38–51. New Brunswick, NJ: Rutgers University Press.

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  • Grodal, Torben. 2009. Embodied Visions. Oxford: Oxford University Press.

  • Krewani, Angela. 2022. “Cybernetics and the Early Experiments in Computer Art.” Digital Culture & Society 8 (2): 107–122. https://doi.org/10.14361/dcs-2022-0208

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  • Petitot, Jean, Francisco J. Varela, Bernard Pachoud, and Jean-Michel Roy, eds. 1999. Naturalizing Phenomenology. Stanford, CA: Stanford University Press.

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

  • Tangherlini, Frank R. 2008. “A Brief Etymology of Cybernetics.” Physics Today 61 (4): 15. https://doi.org/10.1063/1.2911161.

  • Tikka, Pia. 2008. Enactive Cinema: Simulatorium Eisenteinense. Espoo, Finland: Aalto University Press.

  • Varela, Francisco J., Elanor Rosch, and Evan Thompson. 1991. The Embodied Mind: Cognitive Science and Human Experience. Cambridge, MA: MIT Press.

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  • Wiener, Norbert. 1961. Cybernetics: Or Control and Communication in the Animal and the Machine. 2nd ed. Cambridge, MA: MIT Press.

  • Bordwell, David. 1985. Narration in the Fiction Film. Madison: University of Wisconsin Press.

  • Laine, Tarja. 2011. Feeling Cinema: Emotional Dynamics in Film Studies. New York: Continuum.

  • Mulvey, Laura. 1989. “Visual Pleasure and Narrative Cinema.” In Visual and Other Pleasures: Language, Discourse, Society, 14–26. London: Palgrave Macmillan. https://doi.org/10.1007/978-1-349-19798-9_3.

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

  • Smith, Murray. 2022. Engaging Characters: Fiction, Emotion, and the Cinema. 2nd ed. Oxford: Oxford University Press.

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