Search Results

. However, it was not the mere presence of men that made it manly but the masculine ethos that defines these places and thereby also bayam (exercise), wrestling, and other physical cultures. My methodology has been inspired from the ontological turn

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

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

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

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

, 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

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

under increasing strain ( Bauman 2003 ). Neoliberal ontology therefore takes the primary unit of society to be the individual on their own, who is not beholden to any societal structure or condition, instead entirely self-responsible ( Brown 2006

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