Film-Philosophy最新文献_第7页

Take My Breath Away: Review of Mila Zuo (2022) Vulgar beauty: Acting Chinese in the global sensorium Take My Breath Away:Mila Zuo评论（2022）粗俗的美：在全球感官中扮演中国人

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0233

Vivian L. Huang

引用次数: 2

Lee Grieveson (2018) Cinema and the wealth of nations: Media, capital, and the liberal world system 李·格里弗森(2018)《电影与国家财富:媒体、资本和自由世界体系

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0236

Will Kitchen

引用次数: 0

Machine Vision and Encoded Behaviour in Harun Farocki's Later Work Harun Farocki后期作品中的机器视觉和编码行为

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0231

Moses May-Hobbs

{"title":"Machine Vision and Encoded Behaviour in Harun Farocki's Later Work","authors":"Moses May-Hobbs","doi":"10.3366/film.2023.0231","DOIUrl":"https://doi.org/10.3366/film.2023.0231","url":null,"abstract":"Harun Farocki's films make use of a category of images the director calls “operational”, a term describing images, either photographic or computer-generated, that perform or participate in tasks, usually in military or industrial settings. Treatments of Farocki's films have frequently used the notion of the operational image uncritically, and without comparing Farocki's definition of these images with existing semiotic categories. This article seeks to situate Farocki's operational imagery within a theory of visual communication, and to explore the implications of automated and instrumental imagery for theories of communication in general. Abandoning the focus in much Farocki scholarship on the representative properties of operational imagery, this article focuses on the world-shaping abilities of images that are integral to war and labour. Drawing primarily on Farocki's Eye / Machine I–III series ( Auge / Maschine, 2000–2003) the article then elaborates on the ways in which the world-shaping capacity of operational images conditions human perception and action. In particular, the limitations imposed by operational images upon human actors who interact with them, or live in environments orchestrated by them, reduce the essential role played by indeterminacy and interpretation in communication.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41387466","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

Death as Film-Philosophy’s Muse: Deleuzian Observations on Moving Images and the Nature of Time 死亡是电影哲学的缪斯：德勒兹对运动图像和时间本质的观察

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0227

Susana Viegas

{"title":"Death as Film-Philosophy’s Muse: Deleuzian Observations on Moving Images and the Nature of Time","authors":"Susana Viegas","doi":"10.3366/film.2023.0227","DOIUrl":"https://doi.org/10.3366/film.2023.0227","url":null,"abstract":"This article explores the affinities between film and philosophy by returning to a shared meditation on death and the nature of time. Death has been considered the muse of philosophy and can also be considered the muse of film-philosophy. But what does it mean to say that to film-philosophise is to learn to die, or a kind of training for dying? Film is an artistic object that reminds us of death’s inevitability; it is a meditation on the transient and finite nature of time. Films as diverse as Mizoguchi’s Tales of Ugetsu, Resnais’s Hiroshima mon Amour, and Guzmán’s Nostalgia for the Light take an uncanny approach to the subject, expressing the paradoxical coexistence of life and death and of different temporal dimensions. This article explores the philosophical concept of the death-image and time through a Deleuzian approach to cinema, meditating on the flashback, the coexistence of the present and the past, and the emergence of a new type of Lazarean character – one who returns from the dead. The article aims to clarify not simply death’s unquestionable omnipresence in film but also cinema’s role as a contemporary version of the trope of memento mori.","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":"46405132","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

Film as Artificial Intelligence: Jean Epstein, Film-Thinking and the Speculative-Materialist Turn in Contemporary Philosophy 电影作为人工智能：让·爱泼斯坦、电影思维与当代哲学的思辨唯物主义转向

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0224

Christine Reeh Peters

{"title":"Film as Artificial Intelligence: Jean Epstein, Film-Thinking and the Speculative-Materialist Turn in Contemporary Philosophy","authors":"Christine Reeh Peters","doi":"10.3366/film.2023.0224","DOIUrl":"https://doi.org/10.3366/film.2023.0224","url":null,"abstract":"This article considers film as a form of artificial intelligence (AI). This non-anthropocentric hypothesis was first formulated in 1946 by filmmaker and theorist Jean Epstein and regards film as the thinking performance of a technical apparatus, the cinematograph, which is a manifestation of machine thinking based on the holistic entanglement of thought and world, film and philosophy. The article pursues an enquiry into ‘thinking’: one of the most prominent and oldest topics considered in philosophy, and also essential to art and film. Thinking is not only characterised as a sense (like sight or taste) but as a creative and, ultimately, intra-active act. The possibility of film as AI is approached not only from a Deleuzian angle, long appraised by film-philosophy, but also through questions recently raised by theories of artistic research and the speculative-materialist turn in contemporary philosophy. The latter have as a common denominator a strong critique of anthropocentrism in Western philosophy; the article enquires into this criticism from different angles and applies it to the main hypothesis of this analysis – to regard film as a form of AI.","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":"49669544","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

Is It a Wonderful Life? Frank Capra and Objective List Theories of Worth 这是一个美好的生活吗?弗兰克·卡普拉和客观价值表理论

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0228

Joshua Shaw

引用次数: 0

Affective Assemblages of Material Culture: Qi Pao, Mahjong and Performance in Ang Lee’s Lust, Caution 物质文化的情感组合:李安《色戒》中的旗袍、麻将与表演

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0215

Jiaying Sim

引用次数: 0

White Material: Ivory tiles, white womanhood, and white supremacy in Jean-Marc Vallée’s Sharp Objects 白色材料：让-马克·瓦莱的《利器》中的象牙瓷砖、白人女性和白人至上主义

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0219

Emily K Sanders

{"title":"White Material: Ivory tiles, white womanhood, and white supremacy in Jean-Marc Vallée’s Sharp Objects","authors":"Emily K Sanders","doi":"10.3366/film.2023.0219","DOIUrl":"https://doi.org/10.3366/film.2023.0219","url":null,"abstract":"Jean-Marc Vallée’s HBO miniseries, Sharp Objects (2018), follows Camille Preaker (Amy Adams) as she returns to her childhood home in Wind Gap, Missouri, to investigate the murders of two young girls. This article explores a specific type of object related to the systems of violence that reveal themselves over the course of the miniseries: ivory tiles. Here, the ivory tiles affixed to the floor of Camille’s mother’s, Adora Crellin’s (Patricia Clarkson), master bedroom both reveal and influence sinister behaviours of the household’s women. In employing concepts inspired from Thing Theory and Object-Oriented Ontology, as well as critical theory, this article examines how the ivory tiles possess multilayered excesses that constitute an object’s thingness. The foremost excess that informs the ivory tiles’ thingness, I contend, is its relationship to white supremacy. It is not only the tiles’ material history that informs its relationship to white supremacy, but how, through outlining the forms of agency things possess under Thing Theory, the tiles are able to reveal the forms of violence that are structured within the domestic sphere of the Crellin home. A product of violence, the ivory tiles as things speak back to the design of white supremacy.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46701239","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

Poetic Objects: Bachelardian Reverie, Reverberation and Repose in Claire Denis' 35 Shots of Rum 诗意的对象：克莱尔·丹尼斯《35枪朗姆酒》中巴赫的混响、回响与复诵

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0214

Saige Walton

引用次数: 0

Rethinking Inside and Outside: The Door in Ernst Lubitsch's When I Was Dead and Charlie Chaplin's The Adventurer 内外反思：恩斯特·卢比奇的《当我死了》和查理·卓别林的《冒险家》中的门

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0218

Ido Lewit

引用次数: 0