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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 standard

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How Many Emotions Does Film Studies Need?

A Phenomenological Proposal

Julian Hanich

German-speaking world: “our picture of the affective field is still diffuse and incomplete.” Quoting philosopher Matthew Ratcliffe, Eder notes that both in philosophy and film theory “there has been a tendency ‘to focus on a fairly standard inventory of

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Laura T. Di Summa-Knoop

:// . Jacobson , David . 2011 . “Fitting Attitude Theories of Value.” In The Stanford Encyclopedia of Philosophy , ed. Edward N. Zalta . https

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Jerrold Levinson

no mistake about it. Smith’s is an important and thought-provoking book, which no one interested in the philosophy of film, the philosophy of art, or the methodology of aesthetics can afford to miss. Acknowledgments A previous version of this article

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Paisley Livingston

. “ Bolzano on Beauty .” British Journal of Aesthetics 54 ( 3 ): 269 – 284 . 10.1093/aesthj/ayu037 Nanay , Bence . 2016 . Aesthetics as Philosophy of Perception . Oxford : Oxford University Press . 10.1093/acprof:oso/9780199658442

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Catalin Brylla and Mette Kramer

, cultural studies, anthropology, philosophy, and film practice itself. The point is that a pragmatic-cognitive study of documentary requires the building of bridges between the natural sciences, social sciences, and humanities, as well as between film theory

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Putting the Culture into Bioculturalism

A Naturalized Aesthetics and the Challenge of Modernism

Dominic Topp

, encompassing attention, learning, memory, reasoning, problem-solving, and perception, that draws upon research in a variety of disciplines, including anthropology, artificial intelligence, linguistics, neuroscience, philosophy, and psychology” (2014: 5). 2

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Wyatt Moss-Wellington

overemphasizing the value of this affective contradiction in and of itself may lead us to trivialize or otherwise devalue the utility of repulsion. These films and the scholars brandishing them as philosophy all make a primary claim about what is worthy of our

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Rogue or Lover

Value-Maximizing Interpretations of Withnail and I

Peter Alward

. “ The Accidental Author: Interpretation, Intentions, and Responsibility .” Unpublished manuscript. Beardsley , Monroe . 2004 . “Intentions and Interpretations: A Fallacy Revived.” In Aesthetics and the Philosophy of Art: The Analytic Tradition , ed

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What Does It Mean to Be an Ecological Filmmaker?

Knut Erik Jensen’s Work as Eco-Auteur

Mette Hjort

ecology, but also normative emphases of the sort associated with Norwegian philosopher Arne Næss’s (1973) concept of “deep ecology.” In Næss’s prescriptive environmental philosophy, largely developed in a cabin overlooking the mountain range of