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Joerg Fingerhut

pleasure). It is important to note that expansionism o is a central element that a naturalized film philosophy has to account for. For example, in order to understand that a shot after a cut still pertains to the same, coherent scene we have to have

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Disrupted PECMA Flows

A Cognitive Approach to the Experience of Narrative Complexity in Film

Veerle Ros and Miklós Kiss

, and Michele Guerra . 2012 . “ Embodying Movies: Embodied Simulation and Film Studies .” Cinema: Journal of Philosophy and the Moving Image 3 : 183 – 210 . Gallese , Vittorio , Magali Rochat , Giuseppe Cossu , and Corrado Sinigaglia

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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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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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James K. Beggan

Pleasure and Narrative Cinema .” Screen 16 ( 3 ): 6 – 18 . doi: 10.1093/screen/16.3.6 . 10.1093/screen/16.3.6 Nagel , Thomas . 1969 . “ Sexual Perversion .” Journal of Philosophy 66 ( 1 ): 5 – 17 .

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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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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