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James E. Cutting

.1038/srep02758 . 10.1038/srep02758 Stökl , Albert . 1887 . Handbook of the History of Philosophy . Trans. Thomas A. Finlay . Dublin : M. H. Gill and Son . https://maritain.nd.edu/jmc/etext/hhp.htm . Walker , Edward L . 1981 . “ The Quest

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Lieke Hettinga and Terrance Wooten

. A deeply interdisciplinary project, Chen's study traverses—with ease—through performance studies, film and media studies, philosophy, queer studies, and critical ethnic studies in order to position its stakes. Dancing and drifting through these

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Post-Carroll

Functional Elements of the Moving Image

Philip Cowan

. 2006 . “ The Moving Image: Form and Fact: Responses to Tom Wartenberg and Andrew Light .” In Film and Philosophy 10 : 173 – 182 . https://doi.org/10.5840/filmphil20061013 . 10.5840/filmphil20061013 Coates , Paul . 2010 . Cinema and Colour

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Shaping Edits, Creating Fractals

A Cinematic Case Study

James E. Cutting and Karen Pearlman

Dyshluk 2016 ). Rhythm continues, throughout the twentieth and twenty-first centuries, to excite much discussion in the philosophy of film (see, for example, Deleuze 1989 ; Merleau-Ponty 1964 ; Mitry 1990 ; and Sobchack 1994 , 2008 ). Among filmmakers

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Objet A(ffect) and Che(www) Vuoi

The Fleshy Horror of the Unknowable Other in Spring and Honeymoon

Dewey Musante

? In Eugene Thacker’s In the Dust of This Planet , the author attempts to analyze the discreet unknowableness of the world or what he would call “the horror of philosophy.” He writes, “Our phenomenal experience of the world is determinatively a human

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The Feel-Good Film

Genre Features and Emotional Rewards

Keyvan Sarkhosh and Winfried Menninghaus

and Kritik 1 ( 1 ): 15 – 20 . https://doi.org/10.14361/pop.2012-0103 . 10.14361/pop.2012-0103 Solomon , Robert C. 1990 . “ In Defense of Sentimentality .” Philosophy and Literature 14 ( 2 ): 304 – 323 . https://doi.org/10.1353/phl.1990

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Margrethe Bruun Vaage and Gabriella Blasi

markedly interdisciplinary and requires open-mindedness in bringing together philosophy, natural sciences, and social sciences in tackling the complex issues related to human-nature relations. The general aim of ecocriticism is, however, very practical

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A Structure of Antipathy

Constructing the Villain in Narrative Film

Jens Kjeldgaard-Christiansen

offender, such as the negative incentive of a threat. Finally, the same three dimensions of intentionality, consequential action, and causal responsibility are central to moral philosophy. The first two, intentionality and consequential action, are

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“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

. “ Embodying Movies: Embodied Simulation and Film Studies .” Cinema: Journal of Philosophy and the Moving Image 3 : 183 – 210 . Gallese , Vittorio , and Michele Guerra . 2015 . Lo Schermo Empatico. Cinema e Neuroscienze . Milano : Raffaello

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Looking for Something to Signify

Something to Signify Gender Performance and Cuban Masculinity in Viva

David Yagüe González

. It is due to this engagement that queer of color critique opens the discussion to interdisciplinarity, welcoming points of view from philosophy and culture as well as economics, political thought, and activism, and also to nation beyond the Western