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Genevieve Yue (2021). Girl Head: Feminism and Film Materiality Film-Philosophy Pub Date : 2024-01-09 Laura Staab
Film-Philosophy, Volume 28, Issue 1, Page 148-151, February, 2024.
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Eugenie Brinkema (2022). Life-Destroying Diagrams Film-Philosophy Pub Date : 2024-01-09 Archie Wolfman
Film-Philosophy, Volume 28, Issue 1, Page 144-147, February, 2024.
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Padraic Killeen (2022). The Dark Interval: Film Noir, Iconography, and Affect Film-Philosophy Pub Date : 2024-01-09 William B. Covey
Film-Philosophy, Volume 28, Issue 1, Page 140-143, February, 2024.
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Kelli Fuery (2022). Ambiguous Cinema: From Simone de Beauvoir to Feminist Film Phenomenology Film-Philosophy Pub Date : 2024-01-09 Kate Ince
Film-Philosophy, Volume 28, Issue 1, Page 136-139, February, 2024.
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Matilda Mroz (2020). Framing the Holocaust in Polish Aftermath Cinema: Posthumous Materiality and Unwanted Knowledge Film-Philosophy Pub Date : 2024-01-09 Emily-Rose Baker
Film-Philosophy, Volume 28, Issue 1, Page 131-135, February, 2024.
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Response to Critical Views of Phenomenology of Film Film-Philosophy Pub Date : 2024-01-09 Shawn Loht
Film-Philosophy, Volume 28, Issue 1, Page 113-130, February, 2024.
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A Mud Doctor Checking Out the Earth Underneath: Ruminations on Malick’s Days of Heaven and Loht’s Phenomenology of Film Film-Philosophy Pub Date : 2024-01-09 Jason M. Wirth
Film-Philosophy, Volume 28, Issue 1, Page 98-112, February, 2024.
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Cinematic Rehearsals of Phenomenology: On the Ontic-Ontological Schema and Heideggerian Film Theory Film-Philosophy Pub Date : 2024-01-09 John Rhym
Film-Philosophy, Volume 28, Issue 1, Page 79-97, February, 2024.
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Dasein and the Question of the Heterogenous Film Viewer: A Commentary on Loht’s Heideggerian Phenomenology of Film Film-Philosophy Pub Date : 2024-01-09 Annie Sandrussi
Film-Philosophy, Volume 28, Issue 1, Page 62-78, February, 2024.
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Reflexive Wonderings: Prospects and Parameters of a Heideggerian Approach to Film as Philosophy Film-Philosophy Pub Date : 2024-01-09 Martin P. Rossouw
Film-Philosophy, Volume 28, Issue 1, Page 47-61, February, 2024.
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In the Mood for Heideggerian Boredom? Film Viewership as Being-in-the-World Film-Philosophy Pub Date : 2024-01-09 Chiara Quaranta
Film-Philosophy, Volume 28, Issue 1, Page 31-46, February, 2024.
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An Ambiguous World of Film: Cinematic Immersion beyond Early Heidegger Film-Philosophy Pub Date : 2024-01-09 Ludo de Roo
Film-Philosophy, Volume 28, Issue 1, Page 11-30, February, 2024.
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Introduction: Heidegger and the Phenomenology of Film Film-Philosophy Pub Date : 2024-01-09 Robert Sinnerbrink
Film-Philosophy, Volume 28, Issue 1, Page 1-10, February, 2024.
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Vittorio Gallese and Michele Guerra (2020) The Empathic Screen: Cinema and Neuroscience Film-Philosophy Pub Date : 2023-10-11 Tirna Chatterjee
Film-Philosophy, Volume 27, Issue 3, Page 592-595, October, 2023.
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Mary Ann Doane (2021) Bigger Than Life: The Close-up and Scale in the Cinema Film-Philosophy Pub Date : 2023-10-11 Alicia Byrnes
Film-Philosophy, Volume 27, Issue 3, Page 587-591, October, 2023.
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Alyssa DeBlasio (2019) The Filmmaker’s Philosopher: Merab Mamardashvili and Russian Cinema Film-Philosophy Pub Date : 2023-10-11 Ilia Ryzhenko
Film-Philosophy, Volume 27, Issue 3, Page 583-586, October, 2023.
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Martin P. Rossouw (2021) Transformational Ethics of Film: Thinking the Cinemakeover in the Film-Philosophy Debate Film-Philosophy Pub Date : 2023-10-11 Colin Davis
Film-Philosophy, Volume 27, Issue 3, Page 579-582, October, 2023.
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The Monstrous Mark of Cinema: Mulholland Drive, Spherology, and the “Virtual Space” of Filmic Fiction Film-Philosophy Pub Date : 2023-10-11 James Dutton
Film-Philosophy, Volume 27, Issue 3, Page 553-578, October, 2023.
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When Sympathy Hesitates: An Empathetic Understanding of Cinematic Slowness in Stray Dogs Film-Philosophy Pub Date : 2023-10-11 Hui-Han Chen
Film-Philosophy, Volume 27, Issue 3, Page 531-552, October, 2023.
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Rituals Within Walls: Thinking Post-War Japan’s History through Cinematic Allegories of Everyday Life Film-Philosophy Pub Date : 2023-10-11 Ferran de Vargas
Film-Philosophy, Volume 27, Issue 3, Page 507-530, October, 2023.
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Countering the Disadvantage: Stasis as an Emancipatory Minimalist Legacy in Chantal Akerman's Cinema Film-Philosophy Pub Date : 2023-10-11 Charlotte Wynant
Film-Philosophy, Volume 27, Issue 3, Page 488-506, October, 2023.
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Lost and Beautiful or the (Environmental) Ethics of the Lyric Essay Film Film-Philosophy Pub Date : 2023-10-11 Laura Rascaroli, Paolo Saporito
Film-Philosophy, Volume 27, Issue 3, Page 464-487, October, 2023.
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(Re)sounding Audre Lorde: Queer Crip Chorus in Lana Lin’s Experimental Documentary Film-Philosophy Pub Date : 2023-10-11 Hyunjung Kim
Film-Philosophy, Volume 27, Issue 3, Page 443-463, October, 2023.
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The Intensive-Image and the Poetic Film Tradition: Notes on Ruiz, Deren, Pasolini, Buñuel and Deleuze Film-Philosophy Pub Date : 2023-10-11 Cristóbal Escobar
Film-Philosophy, Volume 27, Issue 3, Page 424-442, October, 2023.
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Black Cinematic Poethics Film-Philosophy Pub Date : 2023-10-11 William Brown
Film-Philosophy, Volume 27, Issue 3, Page 401-423, October, 2023.
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Angels, Guests and Sadists: On-Screen Poetry in the Cinema of Pier Paolo Pasolini Film-Philosophy Pub Date : 2023-10-11 Thomas Allen
Film-Philosophy, Volume 27, Issue 3, Page 377-400, October, 2023.
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Editorial: Film-Philosophy-Poetry Film-Philosophy Pub Date : 2023-10-11 Dominic Lash
Film-Philosophy, Volume 27, Issue 3, Page 375-376, October, 2023.
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Lee Grieveson (2018) Cinema and the wealth of nations: Media, capital, and the liberal world system Film-Philosophy Pub Date : 2023-05-11 Will Kitchen
Film-Philosophy, Volume 27, Issue 2, Page 370-373, June, 2023.
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Mario Slugan (2020) Fiction and imagination in early cinema: A philosophical approach to film history Film-Philosophy Pub Date : 2023-05-11 İ. Alev Değim Flannagan
Film-Philosophy, Volume 27, Issue 2, Page 365-369, June, 2023.
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Beller, Jonathan (2018) The message is murder: The substrates of computational capital; Beller, Jonathan (2021) The world computer: Derivative conditions of racial capitalism Film-Philosophy Pub Date : 2023-05-11 David H. Fleming
Film-Philosophy, Volume 27, Issue 2, Page 357-364, June, 2023.
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Freedom and the Weight of the Crown: Sartrean and Beauvoirian Existentialism in Peter Morgan's The Crown Film-Philosophy Pub Date : 2023-05-11 Gabrielle Pozzo di Borgo
Film-Philosophy, Volume 27, Issue 2, Page 326-352, June, 2023.
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Machine Vision and Encoded Behaviour in Harun Farocki's Later Work Film-Philosophy Pub Date : 2023-05-11 Moses May-Hobbs
Film-Philosophy, Volume 27, Issue 2, Page 301-325, June, 2023.
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The Prehistoricity of Cinema: Werner Herzog's Cave of Forgotten Dreams Film-Philosophy Pub Date : 2023-05-11 Daniel Spaulding
Film-Philosophy, Volume 27, Issue 2, Page 282-300, June, 2023.
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Documentary Fictions: Jacques Rancière and the Problem of Indexical Media Film-Philosophy Pub Date : 2023-05-11 Konstantinos Koutras
Film-Philosophy, Volume 27, Issue 2, Page 262-281, June, 2023.
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Is It a Wonderful Life? Frank Capra and Objective List Theories of Worth Film-Philosophy Pub Date : 2023-05-11 Joshua Shaw
Film-Philosophy, Volume 27, Issue 2, Page 240-261, June, 2023.
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Death as Film-Philosophy’s Muse: Deleuzian Observations on Moving Images and the Nature of Time Film-Philosophy Pub Date : 2023-05-11 Susana Viegas
Film-Philosophy, Volume 27, Issue 2, Page 222-239, June, 2023.
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The Colour of Film-Philosophy Film-Philosophy Pub Date : 2023-05-11 William Brown
Film-Philosophy, Volume 27, Issue 2, Page 197-221, June, 2023.
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Strata, Narrative, and Space in Ici et ailleurs Film-Philosophy Pub Date : 2023-05-11 Kamil Lipiński
Film-Philosophy, Volume 27, Issue 2, Page 173-196, June, 2023.
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Film as Artificial Intelligence: Jean Epstein, Film-Thinking and the Speculative-Materialist Turn in Contemporary Philosophy Film-Philosophy Pub Date : 2023-05-11 Christine Reeh Peters
Film-Philosophy, Volume 27, Issue 2, Page 151-172, June, 2023.
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Sarah Cooper (2019). Film and the imagined image Film-Philosophy Pub Date : 2023-01-11 Giulia Rho
Film-Philosophy, Volume 27, Issue 1, Page 146-149, February, 2023.
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Joshua Sikora (Ed.), A Critical Companion to Terrence Malick Film-Philosophy Pub Date : 2023-01-11 Matthew Sellers Johnson
Film-Philosophy, Volume 27, Issue 1, Page 142-145, February, 2023.
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Tiago de Luca (2021) Planetary Cinema: Film, media and the earth Film-Philosophy Pub Date : 2023-01-11 Karim Townsend
Film-Philosophy, Volume 27, Issue 1, Page 137-141, February, 2023.
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Film as Museum: One-of-a-Kind Objects in Berkun Oya's Bir Başkadır Film-Philosophy Pub Date : 2023-01-11 Olivia Landry
Film-Philosophy, Volume 27, Issue 1, Page 115-136, February, 2023.
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White Material: Ivory tiles, white womanhood, and white supremacy in Jean-Marc Vallée’s Sharp Objects Film-Philosophy Pub Date : 2023-01-11 Emily Sanders
Film-Philosophy, Volume 27, Issue 1, Page 98-114, February, 2023.
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Rethinking Inside and Outside: The Door in Ernst Lubitsch's When I Was Dead and Charlie Chaplin's The Adventurer Film-Philosophy Pub Date : 2023-01-11 Ido Lewit
Film-Philosophy, Volume 27, Issue 1, Page 79-97, February, 2023.
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Love Objects: Eros and the Materialistic Aesthetics of Ernst Lubitsch Film-Philosophy Pub Date : 2023-01-11 Noa Merkin
Film-Philosophy, Volume 27, Issue 1, Page 64-78, February, 2023.
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Hitchcock's Undertexts: Objects and Language Film-Philosophy Pub Date : 2023-01-11 Brigitte Peucker
Film-Philosophy, Volume 27, Issue 1, Page 50-63, February, 2023.
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Affective Assemblages of Material Culture: Qi Pao, Mahjong and Performance in Ang Lee’s Lust, Caution Film-Philosophy Pub Date : 2023-01-11 Jiaying Sim
Film-Philosophy, Volume 27, Issue 1, Page 29-49, February, 2023.
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Poetic Objects: Bachelardian Reverie, Reverberation and Repose in Claire Denis' 35 Shots of Rum Film-Philosophy Pub Date : 2023-01-11 Saige Walton
Film-Philosophy, Volume 27, Issue 1, Page 7-28, February, 2023.
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Introduction to Special Issue: Film Objects Film-Philosophy Pub Date : 2023-01-11 Elizabeth Ezra, Catherine Wheatley
Film-Philosophy, Volume 27, Issue 1, Page 1-6, February, 2023.
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Hans Maes and Katrien Schaubroeck (2021) (eds.) Before Sunrise, Before Sunset, Before Midnight: A Philosophical Exploration Film-Philosophy Pub Date : 2022-09-14 James Zborowski
In the introduction to his recent collection Filmed Thought, Robert B. Pippin offers in passing a broad definition of philosophy as “the non-empirical exploration of meaning and value” (2020, p. 5). This definition captures well the spirit of Hans Maes and Katrien Schaurbroeck’s edited collection, Before Sunrise, Before Sunset, Before Midnight: A Philosophical Exploration, which forms part of the Routledge
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Robert Pippin (2020) Filmed Thought: Cinema as Reflective Form Film-Philosophy Pub Date : 2022-09-14 Shawn Loht
One of the most important Hegel scholars of his generation, Robert Pippin has taken a very interesting late-career turn into the philosophy of film, with Filmed Thought: Cinema as Reflective Form being one of a string of works that Pippin has authored on the subject in recent years. While the majority of Pippin’s film books address the philosophical mode of expression found in genres, most notably
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Nico Baumbach (2019) Cinema/Politics/Philosophy Film-Philosophy Pub Date : 2022-09-14 Tyler Theus
Nico Baumbach’s Cinema/Politics/Philosophy presents a systematic reinterpretation and reevaluation of three contemporary European philosophers’ work on cinema: Jacques Rancière, Alain Badiou, and Giorgio Agamben. Several features separate Baumbach’s work from similar studies of these figures. First, Baumbach pairs his interpretations of each of these philosophers’ engagement with cinema with a particular
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Immortality, the Good Life and Romantic Love in Groundhog Day and Only Lovers Left Alive Film-Philosophy Pub Date : 2022-09-14 Rick Zinman
Groundhog Day (GD) (1993), directed by Harold Ramis and Only Lovers Left Alive (Lovers) (2013), directed by Jim Jarmusch, are fantasy films that use the device of practical immortality in order to raise important philosophical questions about what constitutes a good life and to explore the nature of romantic love. GD provides fairly conventional answers about how to live a good life by focusing on
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The Cinematic Anthropocene and the Future Politics of Killing Film-Philosophy Pub Date : 2022-09-14 Gregers Andersen
How could power “exercise its highest prerogatives by putting people to death, when its main role was to ensure, sustain, and multiply life?” (Foucault, 1976/1978, p. 138). In the first volume of The History of Sexuality (1976) Michel Foucault raises this question only to immediately answer: “One had the right to kill those who represented a kind of biological danger to others” (1978, p. 138). According
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David Lynch, Embodiment and Mediality: Dealing With a Human Form Film-Philosophy Pub Date : 2022-09-14 Benedict Welch
David Lynch’s early drawings of heads are characteristically unusual; looking at them does not replicate the feeling of looking in a mirror, of registering recognisable features. A cursory glance provides little, if anything, you might consider your own. The heads are clearly human, but their features are distorted (see S. Huijts, 2019, pp. 44–7). In one, a skull looks cracked and halved like the ground
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The Availability of Jim Jarmusch’s Film-Philosophy: Wittgenstein, Derrida and Private Language in Ghost Dog: The Way of the Samurai Film-Philosophy Pub Date : 2022-09-14 Kyle Barrowman
The linking together that occurs when we reason … is not a linking of names but of the things that are signified by the names, and I am surprised that the opposite view should occur to anyone. Who doubts that a Frenchman and a German can reason about the same things, despite the fact that the words that they think of are completely different? And surely the philosopher refutes his own position when
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Truth, Beauty and Goodness: Freedom and the Platonic Triad in Eric Rohmer’s Film Theory Film-Philosophy Pub Date : 2022-09-14 Hanne Schelstraete
Throughout the 20th century, Western society increasingly substituted the absolute for the particular, certainty for relativism, and religious and metaphysical dogmas for a widespread philosophical scepticism. In a progressively industrial and mechanical society, human existence is no longer primarily explained through the postulation of an “unmoved mover”. Not God but the individual carries the sovereign
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Michel Serres, Topology and Folded Time in Christopher Nolan's Dunkirk Film-Philosophy Pub Date : 2022-09-14 Kevin Hunt
This article discusses Michel Serres's topological thinking and his approach to space and time from a film studies perspective, specifically looking at connections between Serresian philosophy and the work of Christopher Nolan, using Dunkirk (2017) as an example of folded time. The article provides a selective overview of Serres's topological thinking, which opposes a geometrical approach to space
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The Matter of Manual Traces: Letters, Photographs and Bean Paste in Naomi Kawase’s Cinema of Touch Film-Philosophy Pub Date : 2022-09-14 Lydia Tuan
For Naomi Kawase, cinema’s ability to preserve time also makes it a medium that can capture memory, making the film itself a material form of preserved memory.1 As the director herself once stated in an interview: When I discovered cinema, I learned to record and film with the camera; I feel that it is a medium that can preserve time. This capacity of preserving time is what fascinates me most about