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Film-Philosophy最新文献

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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
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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
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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
IF 0.2 3区 艺术学
Film-Philosophy Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0212
A. Philip
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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
{"title":"The Matter of Manual Traces: Letters, Photographs and Bean Paste in Naomi Kawase’s Cinema of Touch","authors":"L. Tuan","doi":"10.3366/film.2022.0202","DOIUrl":"https://doi.org/10.3366/film.2022.0202","url":null,"abstract":"This article explores the representation of the hand in three recent fiction films by Naomi Kawase: Sweet Bean (2015), Radiance (2017) and True Mothers (2020). Extending current scholarship that discusses the director’s use of haptic visuality, I argue that Kawase’s haptic cinema further exhibits its hapticity by framing the hand as both a Derridean trace and conduit that leaves behind traces in objects such as bean paste, letters, photo cameras, and photographs. Kawase’s framing of these objects in close-up shots emphasizes not only their materiality and haptic texture but also their foreshadowed physical absence. By reading Kawase through Jacques Derrida’s notion of trace, the article highlights not only the relevance behind understanding Kawase’s recent fiction films through a Derridean lens but also how the director’s own attitude towards cinema, as one that aims to simultaneously frame absence and presence, can also be read as a Derridean approach to cinema.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43837053","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 Availability of Jim Jarmusch’s Film-Philosophy: Wittgenstein, Derrida and Private Language in Ghost Dog: The Way of the Samurai 吉姆·贾木许电影哲学的可行性:《鬼狗:武士之路》中的维特根斯坦、德里达和私人语言
IF 0.2 3区 艺术学
Film-Philosophy Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0205
Kyle Barrowman
{"title":"The Availability of Jim Jarmusch’s Film-Philosophy: Wittgenstein, Derrida and Private Language in Ghost Dog: The Way of the Samurai","authors":"Kyle Barrowman","doi":"10.3366/film.2022.0205","DOIUrl":"https://doi.org/10.3366/film.2022.0205","url":null,"abstract":"To date, film scholars have found the films of Jim Jarmusch to be tantamount to works of postmodern philosophy. For as intriguing and productive as such interpretations of Jarmusch’s films have been, I submit that the postmodern framework occludes a crucial aspect of Jarmusch’s film-philosophy, namely, his investment in the ordinary. From this perspective, I intend to show the availability of Jarmusch’s films to Wittgensteinian interpretation. More specifically, I plan to situate Jarmusch’s arthouse action film Ghost Dog: The Way of the Samurai (1999) between Ludwig Wittgenstein and Jacques Derrida in order to demonstrate the profound affinities between Jarmusch’s film-philosophy and Wittgenstein’s conception of ordinary language. Through a consideration of character dialogue, I will demonstrate the extent to which Jarmusch rejects the private language argument – which, by extension, amounts to a rejection of linguistic relativism as an instance, or species, of skepticism – in favor of ordinary conceptions of language, expressiveness, knowledge, and responsibility.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47937012","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
David Lynch, Embodiment and Mediality: Dealing With a Human Form 大卫·林奇，《化身与媒介:处理人类形态》
IF 0.2 3区 艺术学
Film-Philosophy Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0206
Benedict Welch
{"title":"David Lynch, Embodiment and Mediality: Dealing With a Human Form","authors":"Benedict Welch","doi":"10.3366/film.2022.0206","DOIUrl":"https://doi.org/10.3366/film.2022.0206","url":null,"abstract":"This article considers the role of disembodiment in the visual art and films of David Lynch. This line of inquiry, I argue, allows us to consider the ways scholars do and do not conceptualise the relationship between Lynch’s works of different mediums. Specifically, I pursue the conviction that Lynch’s preoccupation with an injured or fragmented body corresponds to his intermedial creative practice. I turn my attention to Lynch’s early short film The Alphabet (1968) which exemplifies how the violence inflicted on the body represents the violence wreaked by the separation of art into different media. Using Jacques Rancière’s definition of mediality and his idea of the sensorium, I offer a new perspective on the questions of disembodiment that manifest in tricky and unpredictable bodies in Lynch’s work and thus on how we should read Lynch’s output as joined up across mediums. 1","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44735372","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 Cinematic Anthropocene and the Future Politics of Killing 电影人类世与未来的杀戮政治
IF 0.2 3区 艺术学
Film-Philosophy Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0207
Greger Andersen
{"title":"The Cinematic Anthropocene and the Future Politics of Killing","authors":"Greger Andersen","doi":"10.3366/film.2022.0207","DOIUrl":"https://doi.org/10.3366/film.2022.0207","url":null,"abstract":"This article considers two films, Elysium (Neil Bloomkamp, 2013) and What Happened to Monday (Tommy Wirkola, 2017), in order to demonstrate that they foreshadow a paradigmatic shift in the relationship between biopolitics and thanatopolitics. According to Michel Foucault, and later Giorgio Agamben and Roberto Esposito, it is chiefly the association of humans with biological danger that causes biopolitics to mutate into thanatopolitics. However, in these two films, humans are construed as an ecological danger that prompt thanatopolitics. They depict futures in which the regimes in power act on ecological threats by brutally micromanaging and killing members of their populations. In this the films unveil how the idea of sustainability as equilibrium can never benefit all, but must always leave some human beings out, either by abandoning them to die or by actively killing them. This is important because it brings to light the risk that the Anthropocene could engender regimes that will kill on different grounds than regimes have in the past.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43202685","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
Nico Baumbach (2019) Cinema/Politics/Philosophy 尼科·鲍姆巴赫（2019）电影/政治/哲学
IF 0.2 3区 艺术学
Film-Philosophy Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0209
Tyler A Theus
{"title":"Nico Baumbach (2019) Cinema/Politics/Philosophy","authors":"Tyler A Theus","doi":"10.3366/film.2022.0209","DOIUrl":"https://doi.org/10.3366/film.2022.0209","url":null,"abstract":"","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45270214","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 Breer’s Perpetual Motion Machine 罗伯特·布里尔的永动机
IF 0.2 3区 艺术学
Film-Philosophy Pub Date : 2022-06-01 DOI: 10.3366/film.2022.0196
D. Yang
{"title":"Robert Breer’s Perpetual Motion Machine","authors":"D. Yang","doi":"10.3366/film.2022.0196","DOIUrl":"https://doi.org/10.3366/film.2022.0196","url":null,"abstract":"Embodying and balancing the European avant-garde movement of the 1920s and the dialectical U.S. neo-avant-garde aesthetics of the 1960s, Robert Breer encompassed various art forms in his painting, sculpture and film. In doing so, he created a distinct style that embraces both photographic representation and non-figurative abstraction – a heterogeneous assemblage of sorts – to advocate taking an intermediate stance in the act of rendering the relation between artistic tradition and innovation. By looking at A Man and His Dog Out for Air (1957), Fuji (1974) and LMNO (1978), I show three strategies devised by Breer that help generate the vital energy in these animations: metamorphosis, gradational abstraction, and self-moving objects. All three strategies point to Breer’s dualistic endeavour to experiment with the aesthetic and ontological possibilities of moving images and with the animated objects within the frame in spite of photographic, realist and rational confinements.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48534333","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
Kant and Burke’s Sublime in Werner Herzog’s Films: The Quest for an Ecstatic Truth 维尔纳·赫尔佐格电影中的康德与伯克的崇高:对狂喜真理的追寻
IF 0.2 3区 艺术学
Film-Philosophy Pub Date : 2022-06-01 DOI: 10.3366/film.2022.0193
Patricia Aleksitch Castello Branco
{"title":"Kant and Burke’s Sublime in Werner Herzog’s Films: The Quest for an Ecstatic Truth","authors":"Patricia Aleksitch Castello Branco","doi":"10.3366/film.2022.0193","DOIUrl":"https://doi.org/10.3366/film.2022.0193","url":null,"abstract":"The German filmmaker Werner Herzog controversially associates “truth” and “reality” in film with Kant’s notion of the sublime by explicitly treating the sublime as a key element in developing his notion of ecstatic truth. I critically examine Herzog’s interpretation of Kant’s sublime and the relations he establishes between the sublime and his own key aesthetic notion of ecstatic truth. I examine how the sublime in Herzog’s films arises from encounters with the overwhelming force and power of nature experienced by his characters in the feature films and participants in the documentaries. I question whether Kant’s conception of the sublime is the one that best aligns with Herzog’s aesthetic aims and I contrast Kant’s transcendental sublime with what I describe as the physiological sublime of Edmund Burke. I draw some conclusions about the moral dimension of the sublime in the context of the relationship between humans and nature within the frame of contemporary ecological concerns.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45759245","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
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