Film-Philosophy最新文献_第9页

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

Sarah Cooper (2019). Film and the imagined image 莎拉·库珀(2019)。电影和想象中的形象

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0223

Giulia Rho

引用次数: 0

Hitchcock's Undertexts: Objects and Language 希区柯克的底层文本：对象与语言

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0216

Brigitte Peucker

{"title":"Hitchcock's Undertexts: Objects and Language","authors":"Brigitte Peucker","doi":"10.3366/film.2023.0216","DOIUrl":"https://doi.org/10.3366/film.2023.0216","url":null,"abstract":"This article explores the way in which the generative capacity of language inflects objects and props in several films by Alfred Hitchcock, focusing in particular on Rope (1948) and Strangers on a Train (1951). Camera angle and framing, the duration of the shot, the close-up or the long shot – all give shape to the filmed object. But why is language – or its absence – not mentioned among the set of operations that determines cinematic objects? In the form of dialogue or imaged writing (words or letters visible in the frame), it notably contextualizes the object in Hitchcock's films. Language in relation to objects can be punning; it can extend the image, evoking another, unimaged object through the use of rhyme, and it may act as a verbal solution to a puzzle. When imaged as writing, language is materialized, itself an object. At their most macabre, Hitchcock films stage an oscillation between a word's literal and figurative use, generating an undertext that extends beyond the joke the film's surface makes available. This discussion teases out several functions of language in Hitchcock films as it impacts the viewer's understanding of objects, moments when language creates undertexts that are clearly intentional but resist interpretation.","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":"46137426","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

Joshua Sikora (Ed.), A Critical Companion to Terrence Malick Joshua Sikora（Ed.），特伦斯·马利克的批判伙伴

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0222

M. Johnson

引用次数: 0

Film as Museum: One-of-a-Kind Objects in Berkun Oya's Bir Başkadır 电影博物馆：Berkun Oya头上独一无二的物品

IF 0.2 3区艺术学

Film-Philosophy Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0220

Olivia Landry

{"title":"Film as Museum: One-of-a-Kind Objects in Berkun Oya's Bir Başkadır","authors":"Olivia Landry","doi":"10.3366/film.2023.0220","DOIUrl":"https://doi.org/10.3366/film.2023.0220","url":null,"abstract":"This article explores the 2020 Turkish Netflix series Bir Başkadır ( Ethos) written and directed by Berkun Oya about contemporary Turkey through its objects. With objects surge memories, which are both personal and collective. From the charged objects that convey private attachments, traumas, and histories to ordinary household trinkets and finally archival audiovisual material, this series assumes the status of museum in its drive to carefully exhibit the material world on screen. As the Turkish title of the series indicates, these objects are “ bir başkadır”: one of a kind. Through themes and practices of lost innocence, counter-archives, and archiveology, I sift through the quotidian objects, miniatures, old photos, souvenirs, and analogue film footage re-presented and re-collected in this series with an eye to their new scope and allure. The past and present rest adjacent to one another in the mise-en-scène of this series. In engagement with the philosophical writings of Walter Benjamin on the collector, the archive, and memory, Andreas Huyssen's concept of the “museal gaze,” Jennifer Culbert's “counter-archival sensibility,” and finally Catherine Russell's practice of “archiveology,” this article examines how the objects that fashion the on-screen world acquire depth and meaning and the film as museum comes to form.","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":"43377737","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