Relevant bibliographies by topics / Film consciousness

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Film consciousness'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Film consciousness"

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Boyd, R. D., and S. K. Wertz. "Does Film Weaken Spectator Consciousness?" Journal of Aesthetic Education 37, no. 2 (2003): 73. http://dx.doi.org/10.2307/3527456.

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Boyd, Robert, and Spencer K. Wertz. "Does Film Weaken Spectator Consciousness?" Journal of Aesthetic Education 37, no. 2 (2003): 73–79. http://dx.doi.org/10.1353/jae.2003.0012.

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Charlebois, Justin. "Developing Critical Consciousness Through Film." TESL Canada Journal 26, no. 1 (June 1, 2008): 124. http://dx.doi.org/10.18806/tesl.v26i1.133.

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Recent instructional trends in the field of TESOL emphasize teaching language through course content. The dual focus of content-based English instruction (CBI) provides a way for language teachers to engage learners with challenging material while increasing their linguistic proficiency. This article describes a unit in a CBI course at a Japanese university that was designed to promote the development of critical consciousness (Freire, 2005) through the analysis of a film. Students identified race- and gender-related issues, engaged in discussions about these issues, and finally wrote a critical response paper to the film.
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Marcus, Laura. "Dreaming and Cinematographic Consciousness." Psychoanalysis and History 3, no. 1 (January 2001): 51–68. http://dx.doi.org/10.3366/pah.2001.3.1.51.

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This paper examines the historical and conceptual relationship between film and psychoanalysis, and, more particularly, film and dream. The advent of cinema, to which Freud was apparently indifferent, in fact produced or focused ambiguities and complexities at the heart of psychoanalytic thought, and dream-theories in particular: the relationship between images and representations (cinematic and psychical) as moving and/or still; visual and/or verbal. The essay closes with an exploration of the interrelationship between film and the borderline between sleeping and waking as a way of understanding the forms of attention and distraction which characterize modernity and its projections, using examples from literary texts, including the writings of the poet H.D.
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Shin-dongsoon. "ZhangLu’s Film and Diaspora Double Consciousness." Journal of the research of chinese novels ll, no. 40 (August 2013): 301–20. http://dx.doi.org/10.17004/jrcn.2013..40.013.

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Uabumrungjit, Chalida. "Sleepy Consciousness of Thai Documentary Film." Asian Cinema 16, no. 1 (May 26, 2012): 71–77. http://dx.doi.org/10.1386/ac.16.1.71_1.

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Balan, Canan. "Islam, Consciousness and Early Cinema: Said Nursî and the Cinema of God." Film-Philosophy 20, no. 1 (February 2016): 47–62. http://dx.doi.org/10.3366/film.2016.0004.

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The early 20thcentury works of Kurdish Islamic thinker Said Nursî explore how cinema can provide access to the divine. Yet, considering the periods of Nursî’s life that were spent in prison, or in exile in remote locations, it is likely that the cinema he was discussing was, very specifically, the early silent cinema of attractions. Thus the distinctive format of this cinema can be uncovered in, and seen to structure, Nursî’s formulation of ‘God's cinema’. With this proposition in mind, this article indicates something of the potential that an engagement with Nursî’s cinematic writing offers for reconsidering topics already much discussed in film-philosophy, such as that of time in the works of Gilles Deleuze.
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Minissale, Gregory. "Beyond Internalism and Externalism: Husserl and Sartre's Image Consciousness in Hitchcock and Buñuel." Film-Philosophy 14, no. 1 (February 2010): 174–201. http://dx.doi.org/10.3366/film.2010.0006.

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Bizri, Hisham M. "City of Brass: The Art of Masking Reality in Digital Film." Leonardo 36, no. 1 (February 2003): 7–11. http://dx.doi.org/10.1162/002409403321152211.

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The author's interest in film lies in its ability to expand consciousness and perception in ways unique to the medium. His films challenge the language of filmmaking, be it montage, color, sound, lighting, mise-enscène or acting. The author employs a wide palette of film vocabulary to mask reality and filter it through a personal vision. With the introduction of computers, new ways of seeing the world through film, and thus of acting in the world, may be accomplished.
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McCosker, Anthony. "Deleuze and the New Camera Consciousness." Cultural Studies Review 10, no. 2 (August 30, 2013): 224–28. http://dx.doi.org/10.5130/csr.v10i2.3512.

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Dissertations / Theses on the topic "Film consciousness"

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Shaw, Spencer. "Showtime : the phenomenology of film consciousness." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/3045/.

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The thesis argues that the notion of film consciousness deepens a wide-range of philosophical issues in ways which are only accessible through film experience. These issues, directly related to the continental tradition, deal with consciousness, experience, intentionally and meaning. We look to the implications of the initial acts of film reproduction as it creates 'images' of the world which reconceptualise vision in terms of space, time and dimension. We move from ontology to experience and examine an aesthetic form with radical implications for spectator consciousness. These issues are explored from two philosophical positions. Firstly, phenomenology, especially Edmund Husserl and Maurice Merleau-Ponty. Secondly, the work of Gilles Deleuze who presents the most penetrating insights to date into film consciousness and its repercussions for thought and affectivity. The focus of this study is to draw together these two philosophical positions, showing their fundamental differences but also similarities where they exist. This approach is rarely attempted but the belief running through this thesis is that film is one arena which is invaluable for making such comparisons. It is argued philosophically that film writes large key phenomenological concepts on intentionality, time-consciousness and the relation of the lifeworld to the predicative. In terms of Deleuze, film is shown as a unique artform which in allowing us to link otherwise casts light on Deleuze's own complex system of thought. Chapters 1-3 are concerned with phenomenology and detail the role of film in terms of the lifeworld, intentionally, reduction and the transcendental in a way which has not been attempted elsewhere. The linking chapter on time (4) is used to introduce the work of Henri Bergson and its influence both on phenomenology's inner time-consciousness and Deleuze's fundamental categories of film movement and time imagery. The final two chapters look at the way film is reconfigured through montage and the implications of this for film's unique expression of movement and time.
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Bales, Brittany. "Viewing History Through a Lens: The Influence of Film on Historical Consciousness." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3688.

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This thesis presents an interdisciplinary study of the significance of contemporary film in our understandings of gender, race, and sexuality in Georgian England. I argue that while films set in this period may lack the subtleties and depth of the realities that make up the Georgian era, they are still valuable in informing current discussions concerning race, gender, and sexuality. By examining such films, we learn not only more about the Georgian period and how it is presented and understood by contemporary audiences, but these films tell us much about our own biases, attitudes, and society.
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Duncan, Rosemary. "Projecting Ireland : the historical consciousness of Irish film in the 1990's." Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/17615.

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Bibliography: pages 112-114.
In the following dissertation, I have undertaken to explore the very wide-ranging yet largely unexplored territory of Irish cinema. I have confined my study to the 1990s (other than a brief overview of the Irish film industry in my Introduction) in an attempt to express the revolutionary global success that all aspects of Irish culture have experienced in this decade. The central point, which I reiterate throughout the dissertation, is that, while Irish filmmakers are increasingly concerned with defining "Irishness" for themselves and the world, they inevitably encounter much confusion and ambivalence, and are often criticised for it. For this reason, I have uncovered many ambiguities in the films I have watched, which defy strict categorisation, other than in terms of their settings, which I describe in terms of "war-torn Belfast", modern Dublin and "the rural idyll". Nonetheless, I have divided the essay into three main sections, other than the Introduction and Conclusion, which themselves contain subsections, and which encompass the major themes which recur in Irish films. Section Two is a broad study of those films which deal with the political violence, known as the Troubles, that defines Northern Ireland. This includes a stereotyped American portrayals as well as a more recent IRA bias, beginning with Neil Jordan's attempt to put a new version of history on film in Michael Collins. The conclusion I come to is that filmmakers are ultimately trying to provide a balanced view of the situation and one that condemns violence. Section Three deals with the intertwined themes of women, family, sexuality and the Catholic Church. The traditional conservatism in Ireland is outlined before I show how recent films reflect the changes in moral attitudes and the new freedoms of sexuality that the younger generation is experiencing. Lastly I look at the special situation of women in the North, where they and their families are the long-suffering victims of the violence. Section Four continues the theme of the changes which are sweeping over "Modern Ireland", largely due to its opening-up to outside influences, particularly those of America. The dichotomies of this newly-modernised society are still evident, as I discuss in the section on the historical importance of land, which is expressed not only in the "rural idyll" films, but in those which deal with the move to the urban lure and squalor of Dublin. Finally I look at how the traditional and mythical still exist in modern Ireland, and how the combination of these aspects of the past and present is shown to suggest a positive way into the future.
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Boshoff, Priscilla. "Diasporic consciousness and Bollywood : South African Indian youth and the meanings they make of Indian film." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006249.

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A particular youth identity in the South African Indian diaspora is being forged in a nexus o flocal and global forces . The globalisation of Bollywood and its popularity as a global media and the international commodification of the Indian exotic have occurred at the same time as the valorisation of 'difference' in the local political landscape. Indian youth, as young members of the South African Indian diaspora, are inheritors both of a conservative - yet adaptable - home culture and the marginalised identities of apartheid. However, the tensions between their desire to be recognised as both 'modern' South Africans and as ' traditional ' Indians create a space in which they are able to (re)create for themselves an identity that can encompass both their home cultures and the desires of a Westernised modernity through the tropes of Bollywood. Bollywood speaks to its diasporic audiences through representations of an idealised 'traditional yet modern' India. Although India is not a place of return for this young generation, Bollywood representations of successful diasporic Indian culture and participation in the globalised Bollywood industry through concerts and international award ceremonies has provided an opportunity for young Indians in South Africa to re-examine their local Indian identities and feel invited to re-identify with the global diasporas of India.
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Rangel, Liz Consuelo. "Gender in the City: The Intersection of Capital and Gender Consciousness in Latin American Cinema." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194421.

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This study analyzes the relationship between the access to capital and the individual's construction of gender as presented in six Latin American cinematic depictions from Argentina, Brazil and Mexico that focus the point of view on young women in the urban space. David Harvey's theory on the urbanization of consciousness is used to analyze the females' relationship to family, class, community and state in terms of how each of these elements will impact the access to capital. The interaction with these factors determine that capital will also impact the construction of gender in the city-space. The films analyzed are as follows: Perfume de Violetas (2000) directed by Maryse Sistach, Àngel de fuego (1991) directed by Dana Rotberg Un día de suerte (2002) directed by Sandra Gugliotta, Hoy y mañana (2006) by Alejandro Chomsky, Uma Vida em Segredo (2001) by Suzana Amaral and Antônia (2006), by Tata Amaral. Film theory, feminist film theory, and gender studies are applied in the analysis of films.
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Olbrisch, Lena Marie. "Paul Lindaus DER ANDERE : vom Fall zum Film." Bachelor's thesis, Universität Potsdam, 2011. http://opus.kobv.de/ubp/volltexte/2013/6513/.

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In dieser Arbeit wird die Wirkungs- und Entstehungsgeschichte des Schauspiels „Der Andere“ (1893) von Paul Lindau (1819-1839) untersucht. Der Fokus richtet sich auf die vielfältigen intertextuellen und intermedialen Verknüpfungen des Stückes, die sich über einen Zeitraum von 40 Jahren erstrecken. „Der Andere“ inszeniert einen Fall von Bewusstseinsspaltung, in welchem der Protagonist, ein angesehener Berliner Staatsanwalt, unwissentlich ein nächtliches Doppelleben führt und infolgedessen einen Einbruch in sein eigenes Haus begeht. Hier wird insbesondere den Wechselbeziehungen von medizinischen und medialen Diskursen nachgegangen, da „Der Andere“ nicht nur von nervenmedizinischer Seite als psychiatrischer Fall aufgegriffen, sondern 1913 unter Beteiligung Lindaus als erster deutscher 'Autorenfilm' und 1930 als erster Tonfilm Robert Wienes produziert worden ist. Während filmhistorische Untersuchungen den Befund der errungenen 'Feuilletonfähigkeit' des Stummfilmes festhielten, blieb das Interesse an dem Theaterstück von Seiten der Literaturwissenschaft bislang gering. Ihm war der Status als Vorlage beschieden, die aufgrund ihrer gespaltenen Hauptfigur Verbindungen zu Robert Louis Stevensons „Strange Case of Dr Jekyll and Mr Hyde“ und Hippolyte Taines „De l'Intelligence“ herzustellen scheint, welche bis heute undifferenziert als zentrale Prätexte tradiert worden sind. Verfolgt man hingegen die Spur von weniger prominenten Prätexten, ergibt sich ein vollständigeres Bild. Es stellt sich heraus, dass Lindau eine wesentliche Anregung aus einer unter Pseudonym verfassten französischen Novelle bezog, die er selbst ins Deutsche übersetzte, und dass das Spaltungskonzept von „Der Andere“ diesem Prätext samt seiner Anlehnung an Hippolyte Taine folgt. Auch verweist die Novelle Jeanne Weills auf einen prominenten Fall des Mediziners Adrien Proust, dem Vater Marcel Prousts, der einen straffällig gewordenen Juristen hypnotisch behandelte. Die Diagnose alternierender Bewusstseinszustände führte in diesem Fall zur Annullierung des Schuldspruchs. Durch den Wechsel in das Medium Film konnten wiederum Verbindungen etabliert werden, die den Bezug auf diese Prätexte verlagerten, überschrieben und/oder aktualisierten. So zieht der Stummfilm als wissenschaftliche Rückversicherung allein die schon damals überholte Studie Taines heran, während die spätere Tonverfilmung das psychoanalytische Konzept Freuds als Erklärungsmuster anbietet. Die Untersuchung zeigt am Beispiel von „Der Andere“, dass mediale, literarische und psychologische Diskurse fest miteinander verwoben sind. Ideen und Konzepte zirkulieren zwischen ihnen, weshalb sich die Grenzen zwischen authentischen und fiktiven Fallgeschichten als durchlässig erweisen. Im Falle von „Der Andere“ setzten diese Austauschprozesse eine besonders hohe Produktivität frei.
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Hickey, James William. "Cinemaesthetics : a college-level curriculum in film and communication theory, aesthetics and ethics, critical thinking, reading, and articulation skills /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10992649.

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Thesis (Ed.D.) -- Teachers College, Columbia University, 1990.
Typescript; issued also on microfilm. Sponsor: Carla Seal-Wanner. Dissertation Committee: Robert McClintock. Includes bibliographical references: (leaves 176-178).
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Mack, Adrian. "Film as a Mirror of Evolving Consciousness| The Politics of Representation, the Power of Social Media, and Shifting Landscapes." Thesis, California Institute of Integral Studies, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10615336.

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Social paradigms establish narratives that dictate society. Film, as a form of public pedagogy, mirrors social narratives on screen and instructs society how to view others and think about the world. Diverse individuals and groups view the world differently based on their environment and development. When individuals view film content, their unique perceptions support their understandings of the film content. Without dialogue and reflection, particularly with people with different worldviews and backgrounds, inaccurate, incomplete, and harmful information that is exhibited on screen may continue to influence one’s view of society. One way for dialogue to occur is through social media, which can expose individuals from diverse backgrounds to each other. This transdisciplinary inquiry theorized, “How might conversations on social media impact the social consciousness among viewers of dystopian films?” The literature review underscored why film and dystopian literature are significant and how social media’s prevalence as channels for communication can spark intellectual debate, which links to public pedagogy, with the aim of developing social consciousness. The research was composed as a dystopian fiction novel, using fiction-based research, because fiction, like film, disseminates social narratives. Dystopian literature and film’s plots typically center on social critiques, and are socially conscious in nature. Critics often debate these types of works because of opposing ideologies. Other topics of debate include identity politics surrounding the subtext of fiction and film, casting in film, and governing social dynamics that influence the film industry, such as White supremacy. Unlike with film that has visual representations on screen, readers often have to use mental imagery to interpret and understand fiction writing. When in dialogue with others, individuals can reflect on their projections and interpretations. The fiction incorporated the concepts of the literature review and Urie Bronfenbrenner’s (1978/2005) bioecological systems theory of human development. This theoretical framework as the foundation of the fiction-oriented research demonstrated how environments, such as social media, influence one’s view of the world.

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Nordbeck, Daniel. "Film som historieförmedlare - En studie kring spelfilm i historieundervisningen." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35155.

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Syftet med denna undersökning är att undersöka vilka problem och möjligheter man kan möta med användandet av historisk spelfilm i historieundervisningen. Spelfilmens roll som historieförmedlare har ökat under de senaste åren. Idag fungerar spelfilm med historiska motiv som historieförmedlare för många människor, inte minst ungdomar. I många fall används spelfilmen i underhållningssyfte. En stor anledning till att jag gör denna undersökning är för att se närmare på hur läraren kan arbeta med spelfilmen i historieundervisningen utöver ett rent underhållningssyfte. Dessutom anser jag det viktigt att läraren har kunskap om spelfilm eftersom det är en referensram för många unga. Undersökningen bygger på litteraturstudier av tidigare forskares resultat av relationen mellan historia och film. I undersökningen diskuteras och analyseras spelfilmen utifrån följande perspektiv: pedagogiska teorier, kommunikationsteori, reception, autenticitet, dramaturgin, identitet och identifikation, Samtida avtryck i den historiska spelfilmen, historiebruk, historiemedvetande, kritiskt förhållningsätt samt källkritik. Utifrån dessa perspektiv är tanken att i slutdiskussionen presentera en matris för vad läraren bör tänka på när hon/han visar en spelfilm i historieundervisningen. Resultatet av undersökningen har visat att användning av spelfilm i historieundervisningen är långt mer komplicerad än att bara trycka på ”play”. Men planerar pedagogen bara filmanvändningen noga, utifrån olika aspekter, är det relativt enkelt att identifiera problemen och se fördelarna.
The purpose of this study is to examine problems and possibilities you may encounter when using historical motion-picture when teaching history. Motion-picture as an intermediary of history has increased in recent years. Today, motion-picture with historical motives works as an intermediary to many people, especially youths. Motion-picture is in many cases used for entertainment purposes. One of the big reasons to why I do this study is to look at how teachers can work with motion-picture in history teaching apart from the entertainment purposes. Furthermore, I believe it is important that the teacher has knowledge of motion-picture since it is a frame of reference for many youths.The study is based on literature studies of previous researchers' results of the relationship between history and picture. In the study, motion-picture is discussed and analyzed from the following perspectives: pedagogical theories, communication theory, reception, authenticity, dramaturgy, identity and identification, contemporary impressions in the historical motion-picture, uses of history, historical consciousness, a critical approach and source criticism. The idea is that from these perspectives a matrix/compilation of what the teacher should think about when she/he uses a motion-picture in history teaching will be presented.The results of the study have shown that the use of motion-picture in history teaching is far more complicated than just pressing "play". But if the teacher only plans the use of picture carefully, from various aspects, is it relatively easy to identify the problems and see the benefits.
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Mercer, Nicholas R. "Thinking the commodity through the moving image : a philosophical investigation into cinematic consciousness and the commodity as a mode of communication." University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0261.

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This thesis explores the historical, theoretical and philosophical development of cinematic media as a collective form of technological perception and consciousness. Central to my inquiry is the philosophical notion that with the invention of cinema emerges a cyborg vision, a new modern mechanics of thinking that extends the phenomenological and epistemological experience of human perception and knowledge into hitherto unknown realms of thinking, sensation and being. Drawing on some of the key cultural thinkers and philosophers of the twentieth century, including Walter Benjamin and Gilles Deleuze, as well as contemporary philosophers of media such as Jonathan Beller, Sean Cubitt, D.N. Rodowick and Mark B. Hansen, my research into the philosophy of cinema and digital media articulates a branch of media theory that reads the political economy of the moving image through an amalgam of continental philosophy, marxist theory and film studies. Coterminous with the investigation into the philosophical object of cinematic or media consciousness, the thesis also endeavors to map the historical genealogy of the moving image as it evolves from the industrial mechanics of cinematic technologies to the virtual informatics of digital culture. Central to this inquiry is the idea that the history of cinematic and visual media is inextricably connected with the rise, towards the end of the twentieth century, of postmodern consumer culture and the global information society. The transition from a modern industrial economy to a postmodern information economy that reorganises the logic of production according to the 'variables' of scientific knowledge, communication and informational technologies, parallels a metamorphosis in our media consciousness as the representational ontology of cinematic moving image is transformed by the virtual ontology of the digital image. The first part of my thesis looks at the period of industrial cinema, focusing on Soviet constructivism and the films of Dziga Vertov and Sergei Eisenstein. In this section I trace the origins of cinema as a mode of communication for the commodity, examining how the modern cinematic imaginary opens up new economies of vision and sensation for capital. Following this investigation into what Jonathan Beller calls the cinematic mode of production, the second part of my thesis proceeds to investigate how cinematic consciousness is transformed from the industrial to the post-industrial era. Taking Deleuze's historiographical demarcation of cinema into the two regimes of the 'movement-image' and the 'time-image' as a philosophical frame, the second section of my thesis investigates how in the post-war films of the Italian neorealists and Michelengelo Antonioni our cinematic consciousness develops a new way of thinking the ontology of time and space. This analysis leads into my discussion of how in the age of digital special effects and the Hollywood blockbuster, cinematic consciousness is further expanded with the time-consciousness of the 'virtual' as our bodies attempt to accommodate the heightened flows of information that bombard our senses in the interfaces of digital culture.
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Books on the topic "Film consciousness"

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Bolton, Lucy. Film and Female Consciousness. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230308695.

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Film consciousness: From phenomenology to Deleuze. Jefferson, N.C: McFarland & Co., 2008.

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Film and female consciousness: Irigaray, cinema and thinking women. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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Ted, Perry. Movies, me, and us: Film in the American consciousness. New York: Henry Holt, 1999.

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Innovation in ethnographic film: From innocence to self-consciousness, 1955-85. Chicago: University of Chicago Press, 1993.

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Loizos, Peter. Innovation in ethnographic film: From innocence to self-consciousness, 1955-85. Manchester: Manchester University Press, 1993.

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M, Martin Thomas. Images and the imageless: A study in religious consciousness and film. 2nd ed. Lewisburg [Pa.]: Bucknell University Press, 1991.

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Fiction and the camera eye: Visual consciousness in film and the modern novel. Ann Arbor, MI: University Microfilms International, 1985.

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The stream of consciousness in the films of Alain Resnais. New York: McGruer Pub., 1997.

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Bolton, L. Film and Female Consciousness: Irigaray, Cinema and Thinking Women. imusti, 2011.

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Book chapters on the topic "Film consciousness"

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Bolton, Lucy. "Introduction." In Film and Female Consciousness, 1–7. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230308695_1.

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Bolton, Lucy. "‘Frozen in Showcases’: Feminist Film Theory and the Abstraction of Woman." In Film and Female Consciousness, 8–28. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230308695_2.

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Bolton, Lucy. "The Camera as an Irigarayan Speculum." In Film and Female Consciousness, 29–59. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230308695_3.

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Bolton, Lucy. "In the Cut: Self-Endangerment or Subjective Strength?" In Film and Female Consciousness, 60–94. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230308695_4.

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Bolton, Lucy. "Lost in Translation: The Potential of Becoming." In Film and Female Consciousness, 95–127. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230308695_5.

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Bolton, Lucy. "Morvern Callar: In a Sensory Wonderland." In Film and Female Consciousness, 128–66. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230308695_6.

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Bolton, Lucy. "Architects of Beauty and the Crypts of Our Bodies: Implications for Filmmaking and Spectatorship." In Film and Female Consciousness, 167–201. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230308695_7.

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Bolton, Lucy. "Concluding Remarks: The Object Is Speaking." In Film and Female Consciousness, 202–5. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230308695_8.

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Greiner, Rasmus. "Refiguring Historical Consciousness." In Cinematic Histospheres, 205–10. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_9.

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AbstractBy way of conclusion, this chapter examines the relationship between historical films and theories of historical culture. At the heart of its discussion is the thesis that appropriation of histospheres in spectators’ reception has a refigurative effect on our historical consciousness. On this view, the historical experiences generated by films augment the conceptions of history we have acquired from written accounts and sources with a physical-sensory dimension. Consequently, this chapter argues that two new forms of remembering make a substantial contribution to transforming our historical culture: The reminiscence triggers integrated in the audiovisual design of a historical film prompt spontaneous or “unbidden” memories that come to us contingently and are essentially receptive. The mise-en-histoire’s referentialization, by contrast, is a productive act of remembering.
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Chacón, Carmen T. "9. Film as a Consciousness- Raising Tool in ELT." In English Language Teaching in South America, edited by Lía D. Kamhi-Stein, Gabriel Díaz Maggioli, and Luciana C. de Oliveira, 158–82. Bristol, Blue Ridge Summit: Multilingual Matters, 2017. http://dx.doi.org/10.21832/9781783097982-012.

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Conference papers on the topic "Film consciousness"

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"Analysis of the Consciousness and Role Creation of Film and Television Animation." In 2017 International Conference on Social Sciences, Arts and Humanities. Francis Academic Press, 2017. http://dx.doi.org/10.25236/ssah.2017.30.

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