Film-Philosophy最新文献_第6页

Editorial: Film-Philosophy-Poetry 社论：电影哲学诗歌

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-10-11 DOI: 10.3366/film.2023.0237

Dominic Lash

引用次数: 0

(Re)sounding Audre Lorde: Queer Crip Chorus in Lana Lin’s Experimental Documentary (再)听起来像奥德丽·洛德:林兰娜实验纪录片中的酷儿Crip合唱

3区艺术学

Film-Philosophy Pub Date : 2023-10-01 DOI: 10.3366/film.2023.0241

Hyunjung Kim

{"title":"(Re)sounding Audre Lorde: Queer Crip Chorus in Lana Lin’s Experimental Documentary","authors":"Hyunjung Kim","doi":"10.3366/film.2023.0241","DOIUrl":"https://doi.org/10.3366/film.2023.0241","url":null,"abstract":"This article discusses the artist, filmmaker, and writer Lana Lin’s “revisioning” of Audre Lorde’s The Cancer Journals (1980) to consider how the poetic encounter between two artists from different generations exemplifies the relational praxis that Lorde pursued throughout her life. In revealing the ways in which Lorde opens acoustic sensory spaces for contemporary readers and listeners of her work, I specifically focus on the political and aesthetic dynamic of recitation in Lin’s experimental documentary The Cancer Journals Revisited (2018). I trace how recitation becomes a coalitional practice of feminist chorus through which readers and listeners embody the sonorous space they co-create through and with Lorde. The article further looks into the ways Lin pairs recitation performance with visceral images of body parts on the screen to argue that the film’s visuals dwell in and extend the form of the chorus; which is to say, the film expands the meaning and practice of chorus beyond the realm of the sonic. The bodies on the screen extend the chorus, immersing the audience in a participatory rethinking of the experience of cancer (particularly breast cancer) not merely as an individual misfortune or an aesthetic concern. In adjoining textual, visual, and acoustic elements, Lin’s film provides a powerful transformative sensory environment, reverberating through the reciters and the audience.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135661812","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

Vittorio Gallese and Michele Guerra (2020) The Empathic Screen: Cinema and Neuroscience 维托里奥·加莱斯和米歇尔·格拉(2020)《移情屏幕:电影和神经科学》

3区艺术学

Film-Philosophy Pub Date : 2023-10-01 DOI: 10.3366/film.2023.0250

Tirna Chatterjee

引用次数: 0

Mario Slugan (2020) Fiction and imagination in early cinema: A philosophical approach to film history 马里奥·斯拉根（2020）早期电影中的小说和想象：电影史的哲学方法

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0235

İ. A. D. Flannagan

引用次数: 0

Documentary Fictions: Jacques Rancière and the Problem of Indexical Media 纪实小说:雅克·朗西<s:1>与索引媒体问题

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0229

K. Koutras

引用次数: 0

The Colour of Film-Philosophy 电影哲学的色彩

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0226

William Brown

{"title":"The Colour of Film-Philosophy","authors":"William Brown","doi":"10.3366/film.2023.0226","DOIUrl":"https://doi.org/10.3366/film.2023.0226","url":null,"abstract":"This article draws upon the work of Sylvia Wynter and W.E.B. Du Bois in order to propose that film-philosophy has historically not paid due attention to race. Drawing upon the former’s concept of “the sociogenic principle”, as well as the latter’s theories of “the colour line” and “double-consciousness”, the article argues that modernity has been constructed coterminously with whiteness, as well as a “photographic/cinematographic” logic whereby Blackness is cast into a “negative” realm. That is, while modernity might be white, more specifically it is antiblack. For film-philosophy ethically to evolve, then, it must not just pursue a dewesternising turn to the global, as suggested by various scholars, but it must also reckon with antiblackness and the role that cinema has played in constructing and reaffirming a white (and therefore antiblack) world. By this token, recent engagements with objects and animals similarly do not often consider race as a structuring concept of and for the human, in distinction to which both objects and animals supposedly exist. Indeed, one might even construe the contemporary emphasis on objects and animals among primarily white western scholars as a refusal to consider race with the critical rigour that it merits. This article goes some way towards introducing such critical rigour as developed among scholars in critical race theory, in particular Black Studies, especially Du Bois and Wynter; and it proposes that the application of such work to film will radically alter how we consider the medium. In this way, the article draws out the (white) colour of film-philosophy, and argues for a racially conscious/conscientious film-philosophy that will thus be worthy of the name.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44454866","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

The Prehistoricity of Cinema: Werner Herzog's Cave of Forgotten Dreams 电影的前历史性：赫尔佐格的《被遗忘的梦想洞穴》

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0230

Daniel Spaulding

{"title":"The Prehistoricity of Cinema: Werner Herzog's Cave of Forgotten Dreams","authors":"Daniel Spaulding","doi":"10.3366/film.2023.0230","DOIUrl":"https://doi.org/10.3366/film.2023.0230","url":null,"abstract":"This article argues that Werner Herzog's 2010 film Cave of Forgotten Dreams both enacts and undermines a desire for origins that was characteristic of 20th century modernist discourse. I argue that the aim of the film is literally to embody the origin of cinema, as figured in the recurring motif of projected light playing across the darkened walls of Chauvet Cave, the earliest known site of prehistoric painting. Drawing on texts by Wilson Harris, Giorgio Agamben, Jean-Luc Nancy, and Maxine Sheets-Johnstone, this article demonstrates that the phenomenology of the film's cave scenes and of its archaeological reconstructions produces not a straightforward self-presence at the scene of origins, but rather an “anachronic” or split temporality that links an imagined state of primordiality to the contemporary moment in a way that eludes the problematic modernist criterion of psychological authenticity. By failing to produce an immersive illusion of prehistoricity, the film is constantly thrown back onto its own simple act of “monstration”, or showing, without any transcendental ground. Instead of revealing a moment of origin, then, Cave of Forgotten Dreams plays the shifting role of what I describe, following the art historian Whitney Davis, as an ever-displaced “Figure 1” in an imaginary history of cinema.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43065009","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

Strata, Narrative, and Space in Ici et ailleurs 《我与你》中的层次、叙事与空间

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0225

Kamil Lipiński

引用次数: 0

Freedom and the Weight of the Crown: Sartrean and Beauvoirian Existentialism in Peter Morgan's The Crown 自由与王冠的重量：彼得·摩根《王冠》中的萨特与波伏娃存在主义

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0232

Gabrielle Pozzo di Borgo

引用次数: 0

Beller, Jonathan (2018) The message is murder: The substrates of computational capital Beller, Jonathan (2021) The world computer: Derivative conditions of racial capitalism Beller，Jonathan（2018）信息是谋杀：计算资本的基底Beller，乔纳森（2021）世界计算机：种族资本主义的衍生条件