{"title":"通过动态图像进行哲学思考","authors":"Noël Carroll","doi":"10.1093/oso/9780190683306.003.0005","DOIUrl":null,"url":null,"abstract":"This chapter defends the possibility of some motion pictures doing philosophy on the grounds that some motion pictures have already done so, including Enie Gehr’s Serene Velocity. Special attention is paid to the avant-garde genre of what the author calls “Minimal Film” (a.k.a. “Structural Film”) and the way in which that arena of practice makes philosophical discourse via the moving image possible.","PeriodicalId":43260,"journal":{"name":"Cinema-Journal of Philosophy and the Moving Image","volume":"2 1","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2021-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Philosophizing through the Moving Image\",\"authors\":\"Noël Carroll\",\"doi\":\"10.1093/oso/9780190683306.003.0005\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This chapter defends the possibility of some motion pictures doing philosophy on the grounds that some motion pictures have already done so, including Enie Gehr’s Serene Velocity. Special attention is paid to the avant-garde genre of what the author calls “Minimal Film” (a.k.a. “Structural Film”) and the way in which that arena of practice makes philosophical discourse via the moving image possible.\",\"PeriodicalId\":43260,\"journal\":{\"name\":\"Cinema-Journal of Philosophy and the Moving Image\",\"volume\":\"2 1\",\"pages\":\"\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2021-08-19\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Cinema-Journal of Philosophy and the Moving Image\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/oso/9780190683306.003.0005\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Cinema-Journal of Philosophy and the Moving Image","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780190683306.003.0005","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
This chapter defends the possibility of some motion pictures doing philosophy on the grounds that some motion pictures have already done so, including Enie Gehr’s Serene Velocity. Special attention is paid to the avant-garde genre of what the author calls “Minimal Film” (a.k.a. “Structural Film”) and the way in which that arena of practice makes philosophical discourse via the moving image possible.