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Ted Nannicelli

sketch out some ideas about the ontology of art and of cinema in particular. In their explorations of the ontology of art, many philosophers have found it helpful to think about some arts, such as painting, as having “single instances” and other arts

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David Bordwell

the text, as ontologically required by the nature of narrative in general. By this sort of account, Swan Lake has a narrator, who “tells” us the tale through dance and music, as well as an unseen implied author whose values may be at variance with

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David Davies

generally. These problems for cinema would include the following: 1) Ontological: What kind of thing is a work of cinematic art? What are the identity and persistence conditions for such works? What distinguishes cinematic artworks from other works of cinema

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Jerrold Levinson

levels, if they are conceptually and ontologically distinct, as it seems they are, and as Smith allows them to be? This is far from clear. An example offered next, of phenomenology being corrected by empirical psychology, presumably helps with this

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Catalin Brylla and Mette Kramer

, adapts, expands, or revises these pioneering studies. Such a discourse would need to go beyond the much-rehearsed ontological question of what documentary is and semiotic arguments about the indexical relationship between representation and represented

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The Aesthetics of Boredom

Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia

Emre Çağlayan

to orchestrate duration; how to permit the wandering attention that triggered ontological awareness [and] guide that awareness to a goal” ( 1979: 374 ). Empire strains viewers into facing the passage of time, and such daring aesthetic provocations

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Mario Slugan

André Bazin’s “The Ontology of the Photographic Image” (2005: 9–16) counts among the foundational essays in both film theory and philosophy of photography. In film theory, the special relation to reality Bazin claims to hold for products of

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Other Sides

Loving and Grieving with Heart of a Dog and Merleau-Ponty's Depth

Saige Walton

-Ponty discerns depth in art and in the world, connecting the experience of depth to movement, dispersal, surfaces, the imagination, liquidity, time, and moments of revelation. As this article has considered, Merleau-Ponty's depth is an ontological concept that

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Monstrous Masses

The Human Body as Raw Material

John Marmysz

cinematic depictions of the human body as raw material. My investigation will proceed, first, by explicating an ontological distinction between being-in-itself and being-for-itself , which will allow for a clarification of the processes involved in the

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Charlotte Sun Jensen

This article investigates the film trailer in a cognitive film analytic perspective. More specifically, the focus is on how it circumvents its ontological tension between both giving and holding back its product—the film—at the same time. The hypothesis is that trailers that follow a classic genre convention seek to sell their products by condensing a range of genre traits, which arouses a specific, intense emotional experience. Most particularly, the trailer chooses to activate the main genre of the film and the corresponding range of emotions by reducing and reordering its often complex narrative. On this basis, compared to the film, the trailer may be viewed as an alternative narrative.