Film-Philosophy最新文献_第10页

Introduction to Special Issue: Film Objects 特刊简介：电影对象

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0213

Elizabeth Ezra, Catherine Wheatley

引用次数: 0

Love Objects: Eros and the Materialistic Aesthetics of Ernst Lubitsch 爱的对象:爱欲与恩斯特·卢比奇的唯物主义美学

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0217

Noa Merkin

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引用次数: 0

Tiago de Luca (2021) Planetary Cinema: Film, media and the earth 蒂亚戈·德·卢卡(2021)《行星电影:电影、媒体和地球》

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0221

Karim Townsend

引用次数: 0

Truth, Beauty and Goodness: Freedom and the Platonic Triad in Eric Rohmer’s Film Theory 真、美、善:侯麦电影理论中的自由与柏拉图式人格

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0204

Hanne Schelstraete

{"title":"Truth, Beauty and Goodness: Freedom and the Platonic Triad in Eric Rohmer’s Film Theory","authors":"Hanne Schelstraete","doi":"10.3366/film.2022.0204","DOIUrl":"https://doi.org/10.3366/film.2022.0204","url":null,"abstract":"This article analyses Eric Rohmer’s film theory in the light of the Platonic triad of truth, beauty and goodness, as embodied by the aesthetic philosophy of Kant, Hegel and Schiller. Although his film theory shows affinity with Kant’s ideal of art as a form of natural beauty, I will argue that a broader look at Rohmer’s philosophical foundations is necessary. The point where Rohmer’s film theory deviates from Kant’s triadic philosophy is exactly the point where he approaches the aesthetics of Hegel and Schiller. Turning towards their idealistic philosophy creates a new understanding of Rohmer’s film theory. His ideas on cinema’s ontology and value mirror both Hegel’s emphasis on beauty as the artistic and immediate manifestation of trans-historical truth and Schiller’s belief in beauty as the condition for morality and freedom. Plato’s conceptual and intertwined triad of truth, beauty and goodness lies at the basis of his affinity to 18th century aesthetic philosophy. This close affinity raises the question of the relation between film theory and philosophy, and Rohmer’s position in this debate. He enriches his own thoughts with those of philosophers that inspired him, and enriches their legacy with his cinema-related conclusions.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43006270","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

Michel Serres, Topology and Folded Time in Christopher Nolan's Dunkirk 克里斯托弗·诺兰的《敦刻尔克》中的拓扑和折叠时间

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0203

K. Hunt

{"title":"Michel Serres, Topology and Folded Time in Christopher Nolan's Dunkirk","authors":"K. Hunt","doi":"10.3366/film.2022.0203","DOIUrl":"https://doi.org/10.3366/film.2022.0203","url":null,"abstract":"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 and time, as well as indicating connections between Serresian thought and film studies more broadly. Serres makes frequent use of visual metaphors that rely upon motion, which means discussing Serres's philosophy in relation to film can be a purposeful way to make sense of his topological thinking about spatialized time. Serresian philosophy can bring new ideas to film studies while discussion of Serres's thinking from a film studies perspective can help to visualize some of his philosophical ideas. The article considers similarities with, and distinctions from, Gilles Deleuze's understanding of time in cinema, which is modelled on the work of Henri Bergson. One essential difference is that Serres approaches topological time in relation to space whereas Deleuze only considers topological aspects to time through the virtual qualities of the non-spatialized time-image. Key aims of the article are to contribute to film studies through the application of Serresian thinking in relation to Dunkirk as well as offering a new approach to the recurrent themes of space and time in Nolan's work. The main objective is to present Serresian topological thinking as an alternative approach to space and time in film studies, which includes the capability to potentially complement or enhance ideas developed by Deleuze and Bergson. In keeping with Serresian philosophy this article pursues a new way of thinking about folded time in relation to film, based upon exploring new territory and synthesizing ideas rather than attempting to present a universal argument.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43513421","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

Robert Pippin (2020) Filmed Thought: Cinema as Reflective Form 罗伯特·皮平(2020)电影思想:作为反思形式的电影

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0210

Shawn Loht

引用次数: 0

Immortality, the Good Life and Romantic Love in Groundhog Day and Only Lovers Left Alive 《土拨鼠之日》中的不朽、美好生活和浪漫爱情

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0208

Rick Zinman

{"title":"Immortality, the Good Life and Romantic Love in Groundhog Day and Only Lovers Left Alive","authors":"Rick Zinman","doi":"10.3366/film.2022.0208","DOIUrl":"https://doi.org/10.3366/film.2022.0208","url":null,"abstract":"Groundhog Day (Harold Ramis, 1993) and Only Lovers Left Alive (Jim Jarmusch, 2013) 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. Groundhog Day provides fairly conventional answers about how to live a good life by focusing on issues of spiritual redemption, selflessness, and developing one’s human potential. In contrast, Lovers provides a dark portrayal of a civilization on the brink of extinction but offers a glimmer of hope for the future. The lifestyle and values of married vampires Adam and Eve represent an alternative vision of the core values needed to sustain a better world: greater reliance on human imagination, maintaining a sense of wonder and curiosity about the world, creating and appreciating works of art and living in harmony with the natural world. Both films also offer a perspective on the importance of romantic love in living a good life. Although these perspectives often diverge from one another, they do overlap in some interesting ways. The style of film criticism used in this paper is inspired by the film philosophy of Stanley Cavell.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44692407","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

Hans Maes and Katrien Schaubroeck (2021) (eds.) Before Sunrise, Before Sunset, Before Midnight: A Philosophical Exploration Hans-Maes和Katrien Schaubroeck（2021）（编辑）《日出之前，日落之前，午夜之前：哲学探索》

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0211

James Zborowski

引用次数: 0

The Matter of Manual Traces: Letters, Photographs and Bean Paste in Naomi Kawase’s Cinema of Touch 手工痕迹的问题:河濑直美“触觉电影”中的信件、照片和豆沙

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0202

L. Tuan

引用次数: 0

Ewa Mazierska and Lars Kristensen (eds.) (2020) Third Cinema, World Cinema and Marxism Ewa Mazierska和Lars Kristensen(编)(2020)第三电影，世界电影和马克思主义