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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 Unpublished manuscript.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

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Ted Nannicelli

-the-box-the-never-ending-pan-scan-story . Carroll , Noël . 2008 . The Philosophy of Motion Pictures . Malden, MA : Blackwell . Currie , Gregory . 1989 . An Ontology of Art . London : Macmillan . 10.1007/978-1-349-20038-2 Davies , David . 2012a . “ Enigmatic Variations .” Monist 95

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Philip Cowan

Aerican Society of Cinematographers . Gaut , Berys . 1997 . “ Film Authorship and Collaboration .” In Film Theory and Philosophy , ed. Richard Allen and Murrey Smith , 149 – 172 . Oxford : Oxford University Press . Goodridge , Mike , and Tim

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The Cine-Fist

Eisenstein’s Attractions, Mirror Neurons, and Contemporary Action Cinema

Maria Belodubrovskaya

-6613(98)01262-5 Gallese , Vittorio , and Michele Guerra . 2012 . “ Embodying Movies: Embodied Simulation and Film Studies .” Cinema: Journal of Philosophy and the Moving Image 3 : 183 – 210 . Gallese , Vittorio , Luciano Fadiga , Leonardo Fogassi , and