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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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Jens Eder

The philosopher Matthew Ratcliffe (2005 , 2008 ) introduced the concept of “feelings of being” or “existential feelings” into the philosophy of mind. In this article, I show how this concept is relevant to film and media studies, focusing on

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Synthetic Beings and Synthespian Ethics

Embodiment Technologies in Science/Fiction

Jane Stadler

principles of character design and storytelling, cognitive psychology, philosophy, and ethics” ( ). 2 “Produsage” harnesses user communities that are technosocially networked through many-to-many mediated communication

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Twofoldness in Moving Images

The Philosophy and Neuroscience of Filmic Experience

Joerg Fingerhut

the latter. Figure 1. Movie poster for Alfred Hitchcock et al. Vertigo (1958) by Saul Bass. (1) Twofoldness with respect to moving images is aesthetically irrelevant . In the philosophy of seeing-in, moving images are often modeled after

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How Motion Shapes Thought in Cinema

The Embodied Film Style of Éric Rohmer

Maarten Coëgnarts

question. In their landmark study Philosophy in the Flesh , both authors have argued that humans have a natural tendency to structure the abstract concept of a change-of-state in terms of the familiar concept of “movement” or “change of location.” They

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Toward a Naturalized Aesthetics of Film Music

An Interdisciplinary Exploration of Intramusical and Extramusical Meaning

Timothy Justus

to an expectation for another. Concepts closely related to intramusical meaning include, from psychology, intrinsic meaning ( Juslin and Sloboda 2001 ); from philosophy, formalism ( Davies 2011 ; Kivy 2002 ); and from musicology, absolute music

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Screening Vulnerability

Brian Bergen-Aurand

specializes in nineteenth- and twentieth-century American literature, visual culture, and continental philosophy. His work emphasizes matters of religion, ethics, and social justice. Saravanan Mani is completing his doctoral research in the Division of English

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Todd Berliner

framework, whereas Hollywood Aesthetic turns more toward Anglo-American aesthetic philosophy. But I want to point to a more important difference, at least to my mind: Bordwell addresses the comprehension of Hollywood cinema, whereas Hollywood Aesthetic

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Monstrous Masses

The Human Body as Raw Material

John Marmysz

inspired by a tradition of philosophy, first initiated by G.W.F. Hegel and later developed in the existentialist thought of Jean-Paul Sartre, which emphasizes the phenomenological description of lived experience while striving to avoid political

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Jeff Smith, Dominic Topp, Jason Gendler, and Francesco Sticchi

Morin's film philosophy—without reductively depending on each paradigm employed in his discussions. Throughout the book, Hven conducts a powerful and thought-provoking revaluation of theories of filmic narration. In a very original manner, he highlights