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A Structure of Antipathy

Constructing the Villain in Narrative Film

Jens Kjeldgaard-Christiansen

offender, such as the negative incentive of a threat. Finally, the same three dimensions of intentionality, consequential action, and causal responsibility are central to moral philosophy. The first two, intentionality and consequential action, are

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Looking for Something to Signify

Something to Signify Gender Performance and Cuban Masculinity in Viva

David Yagüe González

. It is due to this engagement that queer of color critique opens the discussion to interdisciplinarity, welcoming points of view from philosophy and culture as well as economics, political thought, and activism, and also to nation beyond the Western

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Alan Voodla, Elen Lotman, Martin Kolnes, Richard Naar, and Andero Uusberg

00676.x . 10.1111/j.1469-8986.1986.tb00676.x Gallese , Vittorio , and Michele Guerra . 2012 . “ Embodying Movies: Embodied Simulation and Film Studies .” Cinema: Journal of Philosophy and the Moving Image 3 : 183 – 210 . https

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Eliza Deac

, and philosophy concurred to produce a systematic forgetfulness of the printed matter resulting in the equation of the act of reading with a conversation: “When defining Poetry they [the philosophers] forgot, fundamentally, that the poetry in front of

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On Shock Therapy

Modernist Aesthetics and American Underground Film

William Solomon

to him in the shape of his prospective audience, who thus expressed metonymically the capacity of the systematic whole of capitalism to degrade its human parts (314). Conversely, Bergson’s philosophy captured only the soothing blackness that masked

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Karen Pearlman

film scholarship to fields including cognitive psychology, cognitive science, and cognitive philosophy. This groundswell of research all contributes to understanding of what we might compress into the question of “how films affect audiences” or “why we

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

-like theater productions. Because Miró participated mostly in theater and did not have the backing of television, her fame and status was not readily recognized by mass audiences. 7 Radi is a professor of philosophy at the University of Buenos Aires and is

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Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo

Views: Film, Cognition, and Emotion , ed. Carl Plantinga and Greg M. Smith , 21 – 47 . London : Johns Hopkins University Press . Carroll , Noël . 1990 . The Philosophy of Horror, Or, Paradoxes of the Heart . New York : Routledge

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Héctor J. Pérez

Zone . ” In Philosophy in The Twilight Zone , ed. Noël Carroll and Lester Hunt , 39 – 57 . London : Wiley-Blackwell . 10.1002/9781444310375.ch3 Plantinga , Carl . 2009b . Moving Viewers: American Film and the Spectator's Experience

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“There’s nothing makeup cannot do”

Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup

Michele White

://twitter.com/DelBoyOsaze/status/480717077918257152 (accessed 27 February 2016 ). Deleuze , Gilles . 1990 . Expressionism in Philosophy: Spinoza . Trans. Martin Joughin . Cambridge, MA : Zone Books . Duncan , Carol . 1989 . “ The MoMA’s Hot Mamas .” Art Journal 48 ( 2 ): 171