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The Eisenstein-Vygotsky-Luria Collaboration

Triangulation and Third Culture Debates

Julia Vassilieva

cinema industry, on the other, reconfiguring what had traditionally been understood as the distinct domains of science and art. 1 Sergei Eisenstein's collaboration with Alexander Luria and Lev Vygotsky emerged from this context of “proto–third culture

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Stacie Friend

collaboration with experimental scientists in developing studies of genuine potential relevance to our concerns. This does not mean that empirical results will answer philosophical questions. After all, many of our questions are ultimately normative. But if we

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Esther Rashkin

What facilitates the psychic process of grieving a traumatic loss, and what happens when that process is blocked? Forbidden Games is, on one level, an intimate film about childhood trauma. When viewed from a psychoanalytic perspective informed by concepts such as introjection and pathological mourning, however, it emerges as a complex allegory that reflects, through its narrative and filmic elements, on the sociocultural and historical dynamics of France's troubled response to the loss of its identity as a democracy during World War II. The film also reflects on the even more shameful history of the rise of French anti-Semitism under the Vichy regime and France's history of silencing or repressing the drama of its willing collaboration with the Nazis' Final Solution. Private trauma thus screens public, political trauma as Clément's film becomes both a medium for sociocultural commentary and a memorial to loss that could not be buried or mourned.

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Ted Nannicelli

that integrates “textual,” contextual, and intertextual elements. Like Smith and a number of his commentators, Brylla and Kramer see the cutting edge of film scholarship in a mutually informative collaboration between the humanities and the sciences

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Questions of Authorship

Some Comments on David Bordwell’s Narration in the Fiction Film

Paisley Livingston

. 2009 . Cinema, Philosophy, Bergman . Oxford : Oxford University Press . 10.1093/acprof:oso/9780199570171.001.0001 Livingston , Paisley , and Carol Archer . 2010 . “ Artistic Collaboration and the Completion of Works of Art .” British Journal of

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Philip Cowan

analytical methodology for attributing coauthorship specifically to the cinematographer and apply this methodology to the work of Toland, in particular his work with William Wyler. The Toland/Wyler collaboration provides an excellent opportunity for a

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Laura T. Di Summa-Knoop

the arguments and suggestions presented in this article, still hinder a collaboration between a naturalized aesthetics and criticism. Naturalized Aesthetics and Value Judgments “A naturalist, explanatory approach won’t, generally speaking, make us

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Katherine Thomson-Jones

right tone to solicit the reader’s collaboration. Film, Art, and the Third Culture initiates a dialogue between natural scientists, philosophers, and film theorists, one that I very much hope will continue. Acknowledgments A previous version of this

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Murray Smith

emotions, which, as we have seen, Friend believes can be tackled via the collaboration of psychologists and philosophers. Even so, di Summa-Knoop wants to push the normative boat out much further. She does this by exploring the potential contribution of

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Sermin Ildirar and Louise Ewing

, François . 1984 . Hitchcock . Rev. ed. with the collaboration of Helen G. Scott . New York : Simon & Schuster . Vrij , Aldert , Samantha Mann , Sharon Leal , and Ronald Fisher . 2010 . “ ‘Look into My Eyes’: Can an Instruction to Maintain