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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

, Patricia Meyer . 1995 . Boredom: The Literary History of a State of Mind . Chicago : Chicago University Press . Svendsen , Lars . 2005 . A Philosophy of Boredom . London : Reaktion Books . Tan , Ed . 2011 . Emotion and the Structure of Narrative

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Torben Grodal

. Irenäus Eibl-Eibesfeld and Frank Kemp Salter , 71 – 93 . New York : Berghahn Books . Carroll , Noël . 1998 . A Philosophy of Mass Art . Oxford : Oxford University Press . Curtis , Valerie , and Adam Biran . 2001 . “ Dirt, Disgust, and

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Philip J. Hohle

. “ ‘I Followed the Rules, and They All Loved You More’: Moral Judgment and Attitudes toward Fictional Characters in Film .” Midwest Studies in Philosophy 34 ( 1 ): 34 – 51 . 10.1111/j.1475-4975.2010.00204.x Ramasubramanian , Srividya , and Meghan S

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Film Studies and Analytic Aesthetics in Dialogue

Mario Slugan and Enrico Terrone

, when it comes to the relationship between film and philosophy, the focus is mostly on how philosophy can help better understand film with little or nothing on how film studies can contribute to philosophical aesthetics. This special issue is aimed at

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Brenda Austin-Smith, Matthew Cipa, and Temenuga Trifonova

and achievements of film. These expressions of a film's merits or demerits are rooted in intellectual processes and criteria associated with the philosophy of art, and are available to critics who have cultivated a disposition called the “aesthetic

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Jeffrey M. Zacks, Trevor Ponech, Jane Stadler, and Malcolm Turvey

the comprehension of visual real-world events .” The Journal of Cognitive Neuroscience 20 ( 11 ): 2037 – 57 . 10.1162/jocn.2008.20143 Rawls, Christina, Diana Neiva, and Steven S. Gouveia, eds. Philosophy and Film: Bridging Divides . New

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Filippo Contesi

The contemporary literature on horror is one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. The central influence on this literature has for a while been film scholar and philosopher of art Noël

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Guest Editor's Introduction

Phenomenology Encounters Cognitivism

Robert Sinnerbrink

” problem still persists in film theory / philosophy of film, which means that efforts to address and overcome this opposition are as important as ever. Indeed, Smith's own conception of the need for a “triangulation” of aesthetic experience—recognizing the

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Beyond the Individual Body

Spinoza's Radical Enactivism and You Were Never Really Here

Francesco Sticchi

operations ( Colombetti 2014, 6–7 ; Damasio 2006, 117 ; Ravven 2003 ). Spinoza's philosophy has also been regarded by many as an effective conceptual framework (in particular thanks to the analysis and exegesis of Gilles Deleuze [1988, 123–128] ) with

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Toward a Model of Distributed Affectivity for Cinematic Ethics

Ethical Experience, Trauma, and History

Philip Martin

philosophies centered on consciousness ( Fóti 2013, 29 ). According to Merleau-Ponty, philosophies that take the epistemic relation between mind and world as their starting point situate perception with respect to a priori forms and structures of cognition