Film-Philosophy最新文献_第10页

Lúcia Nagib (2020) Realist Cinema as World Cinema: Non-cinema, Intermedial Passages, Total Cinema Lúcia Nagib（2020）现实主义电影作为世界影院：非影院、中间通道、整体影院

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2022-06-01 DOI: 10.3366/film.2022.0198

Navid Darvishzadeh

引用次数: 1

David Huckvale (2020) Terrors of the Flesh: The Philosophy of Body Horror in Film David Huckvale（2020）《肉的恐怖：电影中身体恐怖的哲学》

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2022-06-01 DOI: 10.3366/film.2022.0201

Kristina Šekrst

引用次数: 0

Hegel and Hitchcock’s Vertigo: On Reconciliation 黑格尔和希区柯克的《迷魂:论和解

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2022-06-01 DOI: 10.3366/film.2022.0195

D. Shaul

{"title":"Hegel and Hitchcock’s Vertigo: On Reconciliation","authors":"D. Shaul","doi":"10.3366/film.2022.0195","DOIUrl":"https://doi.org/10.3366/film.2022.0195","url":null,"abstract":"This article reconstructs and evaluates a debate between Pippin and Žižek over the proper interpretation of Hitchcock’s Vertigo, in relation to Hegel’s concept of reconciliation. Both Pippin and Žižek agree that Vertigo exemplifies Hegelian reconciliation: Scottie exhibits Hegel’s reconciliatory “negation of negation” when he realizes that his lost love Madeleine had really been Judy all along, thereby losing his original loss. Yet Pippin and Žižek disagree on the precise significance of the concept of reconciliation both for the film and for the contemporary world. Žižek argues for a revolutionary reading of reconciliation in Vertigo: we learn from reconciliation that we must make a revolutionary break from the present world, in order to bring about a wholly new world. Pippin argues for a reformist reading of reconciliation in Vertigo: we learn from reconciliation that we must find the “traces of reason” latent in the present world, in order to gradually reform it for the better. Ultimately, I argue that Žižek’s reading offers the more authentically Hegelian approach to interpreting Hitchcock’s Vertigo. But if nothing else, the Pippin-Žižek debate demonstrates the profound intellectual fecundity of the intersections between film and philosophy for understanding our current historical moment.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44860795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Humility and Greatness in Damien Chazelle’s First Man 达米恩·查泽尔《第一人》中的谦逊与伟大

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2022-06-01 DOI: 10.3366/film.2022.0192

Sylvie Magerstaedt

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引用次数: 0

Disgust, Race and Ideology in Carl Franklin’s Devil in a Blue Dress 卡尔·富兰克林《蓝衣魔鬼》中的厌恶、种族与意识形态

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2022-06-01 DOI: 10.3366/film.2022.0191

D. Flory

引用次数: 0

Receptivity, Simultaneity: The Thin Red Line as Ecological Cinematic Poesis 接受性、同时性:作为生态电影诗的细细的红线

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2022-06-01 DOI: 10.3366/film.2022.0197

Paul-William Burch

{"title":"Receptivity, Simultaneity: The Thin Red Line as Ecological Cinematic Poesis","authors":"Paul-William Burch","doi":"10.3366/film.2022.0197","DOIUrl":"https://doi.org/10.3366/film.2022.0197","url":null,"abstract":"I adapt Robert Sinnerbrink's notion of cinematic poesis by arguing that Terrence Malick's The Thin Red Line constitutes an example of ecological cinematic poesis: a style of filmmaking that works in concert with the limits and potentialities of the filmmaking as a medium. This cinematic bearing emerges in a new way following Malick's return to Hollywood, where a combination of factors spur the emergence of a radical Emersonian practice of cinematic receptivity. I draw on oral histories, and the film itself, to demonstrate how Malick's creative process consistently tends towards an ethos of poverty. To further pattern and illuminate the ecological stakes of this Emersonian stance, I draw on the complementary framework of second-order systems theory, and in particular, on Niklas Luhmann's concept of simultaneity. In so doing, I outline the layered nature of Malick's cinematic praxis – a doubled Emersonian receptivity which not only invites defamiliarizing depictions of warfare and the nonhuman, but also welcomes, and toys with, the otherness haunting technical images and human cognition. As such, The Thin Red Line, and its immediate counterparts, perform the ecological work of reframing the conditions of wonder, asking us to marvel not at what we have seen, but what we haven’t.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43695396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Shane Denson (2020), Discorrelated Images Shane Denson (2020)， discorrelation Images

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2022-06-01 DOI: 10.3366/film.2022.0199

Christian de Mouilpied Sancto

引用次数: 0

The Disrobing of Aphrodite: Brigitte Bardot in Le Mépris 阿芙罗狄蒂的疏远：蔑视中的布里吉特·巴多

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2022-06-01 DOI: 10.3366/film.2022.0194

Oisín Keohane

引用次数: 0

Gilberto Perez (2019) The Eloquent Screen: A Rhetoric of Film 吉尔伯托·佩雷斯(2019)雄辩的屏幕:电影的修辞