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Seeing Yourself in the Past

The Role of Situational (Dis)continuity and Conceptual Metaphor in the Understanding of Complex Cases of Character Perception

Maarten Coëgnarts, Miklós Kiss, Peter Kravanja, and Steven Willemsen

other events in time which, by memory or inference, we believe to be real, are regarded as past or future—those earlier than the present being past, and those later than the present being future.” 5 Within the field of philosophy of mind, this

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Loving and Grieving with Heart of a Dog and Merleau-Ponty's Depth

Saige Walton

experimental film practices, Laurie Anderson's film Heart of a Dog (2015) is explicitly concerned with death and the emotions that accompany it (love, grief, guilt, and loss). First commissioned by the Franco-German company Arte TV to create a “philosophy of

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Carl Plantinga

interesting were it not for the rhetorical and persuasive power of screen stories worldwide. The first part of the book develops a theory of that power, drawing on the philosophy of film and literature, evolutionary accounts of storytelling, and social science

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Ethical Engagement with Movies

Response to Carl Plantinga's Screen Stories

Cynthia Freeland

( 4 ): 349 – 360 . 10.1111/1540_6245.jaac48.4.0349 De Sousa , Ronald . 1987 . The Rationality of Emotion . Cambridge, MA : MIT Press . 10.7551/mitpress/5760.001.0001 Kivy , Peter . 1997 . Philosophies of

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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 . . 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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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 . . 10.5840/filmphil20061013 Coates , Paul . 2010 . Cinema and Colour

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The Feel-Good Film

Genre Features and Emotional Rewards

Keyvan Sarkhosh and Winfried Menninghaus

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

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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