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Journal articles on the topic 'Motion pictures ; Motion pictures - Philosophy'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Wartenberg, T. E. "The Philosophy of Motion Pictures." British Journal of Aesthetics 49, no. 1 (2009): 83–85. http://dx.doi.org/10.1093/aesthj/ayn053.

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2

Ribeiro, A. C. "Philosophy of Film and Motion Pictures." British Journal of Aesthetics 46, no. 3 (2006): 317–19. http://dx.doi.org/10.1093/aesthj/ayl011.

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3

Stadler, Jane. "Experiential Realism and Motion Pictures." Studia Phaenomenologica 16 (2016): 439–65. http://dx.doi.org/10.5840/studphaen20161616.

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4

Jones, W. E. "The Philosophy of Motion Pictures, by Noel Carroll." Mind 122, no. 486 (2013): 521–25. http://dx.doi.org/10.1093/mind/fzt066.

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5

Kania, A. "The Philosophy of Motion Pictures * By NOEL CARROLL." Analysis 69, no. 1 (2009): 194–95. http://dx.doi.org/10.1093/analys/ann037.

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6

Shaw, Daniel. "A Rejoinder to Noèl Carrol's The Philosophy of Motion Pictures." Film-Philosophy 12, no. 2 (2008): 142–51. http://dx.doi.org/10.3366/film.2008.0021.

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7

ELLIS, PATRICK. "A cinema for the unborn: moving pictures, mental pictures and Electra Sparks's New Thought film theory." British Journal for the History of Science 50, no. 3 (2017): 411–28. http://dx.doi.org/10.1017/s0007087417000644.

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AbstractIn the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day.

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8

Geranfar, Babak. "The Malick Viewed." Conversations: The Journal of Cavellian Studies, no. 5 (February 27, 2018): 70–73. http://dx.doi.org/10.18192/cjcs.v0i5.2408.

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The question of the relation between Film and philosophy has been at the center of many intellectual debates since the foundation of cinema. It has been paraphrased and articulated in many disciplines such as Philosophy of Film, Film-Philosophy, Philosophy of Motion Pictures, Philosophy of Moving Images, even Film Theory. Nevertheless, as much as the technical aspects of the movies developed rapidly, the philosophical questions around it became more and more specific and the answers became more fallible by the end of the day. If you could agree before with some of the ontological conclusions of Bazin, Deleuze, Badiou or Cavell about celluloid-based Film, you certainly cannot share that agreement to generalize that to the kind of digital imagery that we call ‘Film’ today, nor can you justify the Hologram or 3D IMAX footage as constituents of a motion picture. The irony is that the old question, ‘what is Film?’, is as often and as rapidly revised as the question, “what is philosophy?”.

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9

Druzhinin, Andrey. "Motion Pictures as a Source of Empirical Language Data (A Case Study of Counterfactuals)." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 3 (August 2021): 166–75. http://dx.doi.org/10.15688/jvolsu2.2021.3.14.

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The article focuses on the problem of research methodology in linguistics and argues that motion pictures, or feature films, provide a good source of empirical data for a realistic investigation of language as a communicative behavior. Evidence from epistemology and philosophy of science shows that scriptism and rationalism as two dominating methodologies in traditional linguistics do not give a whole picture of language functionality because through them we cannot observe a human's communicative behavior in dynamics. The aim of the article is to offer an alternative understanding of the subject-matter, method and data for linguistic research which would be grounded on human experience observable in films. In particular, the term 'languaging' is adopted to describe the dynamic process of experience construction in referential and attentional framings. The investigation of languaging is thus based on the principle of holism, circularity and 'double perspectival' view of one's experience. The author of the article gives a number of reasons why written texts alone do not provide reliable data in this respect and why motion pictures are a more viable alternative. The paper introduces the methodology of holistic research and open-ended experiential analysis and demonstrates in a case study how counterfactuals as grammatically and experientially enacted patterns can be observed and investigated in the film Atonement.

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10

Berman, Aaron, and Charles Lawrence Gellert. "The Holocaust, Israel, and the Jews: Motion Pictures in the National Archives." Journal of American History 77, no. 4 (1991): 1457. http://dx.doi.org/10.2307/2078427.

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11

Carlson, W. Bernard, and Michael E. Gorman. "Understanding Invention as a Cognitive Process: The Case of Thomas Edison and Early Motion Pictures, 1888-91." Social Studies of Science 20, no. 3 (1990): 387–430. http://dx.doi.org/10.1177/030631290020003001.

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12

Larson, Edward J., and Martin S. Pernick. "The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915." Journal of American History 84, no. 2 (1997): 698. http://dx.doi.org/10.2307/2952674.

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13

Landsberg, A. "America at Work, America at Leisure: Motion Pictures from 1894-1915, http://memory.loc.gov/ammem/awlhtml/awlhome.html. Created and maintained by the Motion Picture, Broadcasting and Recorded Sound Division, Library of Congress, Washington, D.C. Reviewed Jan. 2007." Journal of American History 94, no. 3 (2007): 1047–48. http://dx.doi.org/10.2307/25095309.

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14

Razlogova, E. "Inventing Entertainment: The Motion Pictures and Sound Recordings of the Edison Companies, http://memory.loc.gov/ammem/edhtml/. Created and maintained by the Motion Picture, Broadcasting, and Recorded Sound Division, Library of Congress, Washington, D.C. Reviewed June 15-18, 2006." Journal of American History 93, no. 3 (2006): 1002. http://dx.doi.org/10.2307/4486607.

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15

Marsden, Michael T., and Craig W. Campbell. "Reel America and World War I: A Comprehensive Filmography and History of Motion Pictures in the United States, 1914-1920." Journal of American History 73, no. 4 (1987): 1114. http://dx.doi.org/10.2307/1904194.

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16

Łazarz, Radosław. "Z czerwonym Kielichem. Przedmiot wiary husytów w Trylogii husyckiej Otokara Vavry." Slavia Occidentalis, no. 73/2 (June 14, 2018): 45–56. http://dx.doi.org/10.14746/so.2016.73.29.

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The study is dedicated to Otokar Vavra’s cinematographic “Hussites Revolutionary Trilogy”. The films were shot in the 1950s as colour motion pictures. The main idea is based on Alois Jirasek’s trilogy and Frantisek Palacky’s philosophy of history combined with some ideological concepts revolving around the communist interpretation of Hussites. The three films: Jan Hus (1954), Jan Žižka (1955) and Proti všem (Against All Odds, 1957) pose some sort of a challenge by showing a religious movement from an atheist’s perspective. Vavra indeed created a work of propaganda, a heroic story of the Czech folk fighting against foreign powers (lords and nobles, crusaders) which had the potential of underpinning the communist ideology in Czechoslovakia. On the other hand, the trilogy took in a new symbolic meaning after the 1968 occupation by the Warsaw Pact.

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17

Miller, B. M. "The Spanish-American War in Motion Pictures, http://memory.loc.gov/ammem/sawhtml/sawhome.html. Created and maintained by the National Digital Library Program team, Motion Picture, Broadcasting, and Recorded Sound Division, Library of Congress, Washington, D.C. Reviewed Feb. 22-27, 2006." Journal of American History 93, no. 2 (2006): 624. http://dx.doi.org/10.2307/4486397.

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18

Apple, Rima D. "The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915. Martin S. Pernick." Isis 88, no. 2 (1997): 369–70. http://dx.doi.org/10.1086/383755.

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19

Young, Linda. "Motion Pictures." SMPTE Journal 106, no. 1 (1997): 9–11. http://dx.doi.org/10.5594/j09530.

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20

Ricotta, Frank J. "Motion Pictures." SMPTE Journal 104, no. 4 (1995): 186–88. http://dx.doi.org/10.5594/j09609.

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21

Ricotta, Frank J. "Motion Pictures." SMPTE Journal 103, no. 4 (1994): 211–15. http://dx.doi.org/10.5594/j09688.

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22

Young, Linda. "Motion Pictures." SMPTE Journal 105, no. 4 (1996): 177–78. http://dx.doi.org/10.5594/j15829.

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23

Masson, Alan J. "Motion Pictures." SMPTE Journal 108, no. 2 (1999): 75–78. http://dx.doi.org/10.5594/j17112.

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24

Masson, Alan J. "Motion Pictures." SMPTE Journal 107, no. 1 (1998): 11–13. http://dx.doi.org/10.5594/j17616.

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25

Burns, Edward J. "Motion Pictures." SMPTE Journal 97, no. 4 (1988): 268–74. http://dx.doi.org/10.5594/j00667.

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26

Bonnaud, Irène, Suzanne Doppelt, Christophe Triau, and Sacha Zilberfarb. "Motion pictures." Vacarme 15, no. 2 (2001): 60. http://dx.doi.org/10.3917/vaca.015.0060.

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27

Mitchison, Tim J. "Motion pictures." Nature 357, no. 6373 (1992): 32. http://dx.doi.org/10.1038/357032a0.

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28

Antonoff, Michael. "Motion Pictures." Scientific American 296, no. 5 (2007): 24–25. http://dx.doi.org/10.1038/scientificamerican0507-24.

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29

Gomery, Douglas. "Motion Pictures." Communication Booknotes 16, no. 5 (1985): 49. http://dx.doi.org/10.1080/10948008509488306.

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30

Gomery, Douglas. "Motion Pictures." Communication Booknotes 17, no. 1 (1986): 7–9. http://dx.doi.org/10.1080/10948008609488219.

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31

Gomery, Douglas. "Motion Pictures." Communication Booknotes 17, no. 9-10 (1986): 98–107. http://dx.doi.org/10.1080/10948008609488269.

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32

Gomery, Douglas. "Motion Pictures." Communication Booknotes 18, no. 7-8 (1987): 63–69. http://dx.doi.org/10.1080/10948008709488193.

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33

Gomery, Douglas. "Motion Pictures." Communication Booknotes 18, no. 9-10 (1987): 93–99. http://dx.doi.org/10.1080/10948008709488203.

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34

Gomery, Douglas. "Motion Pictures." Communication Booknotes 19, no. 5 (1988): 95–103. http://dx.doi.org/10.1080/10948008809488155.

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35

Block, Eleanor, James K. Bracken, Eleanor S. Block, and Bruce A. Austin. "Motion Pictures." Communication Booknotes Quarterly 29, no. 1 (1998): 52–60. http://dx.doi.org/10.1080/10948009809361557.

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36

Levine, Niall, John A. Lent, and Bruce Austin. "Motion pictures." Communication Booknotes Quarterly 29, no. 2 (1998): 88–96. http://dx.doi.org/10.1080/10948009809361564.

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37

Austin, Bruce A., Eleanor Block, Chris Sterling, Robert Huesca, and Gary R. Edgerton. "Motion pictures." Communication Booknotes Quarterly 29, no. 4 (1998): 196–203. http://dx.doi.org/10.1080/10948009809361586.

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38

Austin, Bruce A., Niall Levine, and Chris Sterling. "Motion pictures." Communication Booknotes Quarterly 30, no. 4 (1999): 227–31. http://dx.doi.org/10.1080/10948009909361637.

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39

Blasko, Edward J. "Motion Pictures." SMPTE Journal 95, no. 4 (1986): 413–19. http://dx.doi.org/10.5594/j17960.

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40

Baptista, John L. "Motion Pictures." SMPTE Journal 100, no. 4 (1991): 225–31. http://dx.doi.org/10.5594/j04767.

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41

Baptista, John L. "Motion Pictures." SMPTE Journal 101, no. 4 (1992): 231–34. http://dx.doi.org/10.5594/j02302.

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42

Baptista, John L. "Motion Pictures." SMPTE Journal 102, no. 4 (1993): 289–94. http://dx.doi.org/10.5594/j03791.

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43

Iosifian, S. A., and V. A. Petrovskii. "Motion Pictures." Russian Education & Society 37, no. 10 (1995): 11–22. http://dx.doi.org/10.2753/res1060-9393371011.

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44

Paton, Miranda. "Charles Musser. Edison Motion Pictures, 1890–1900: An Annotated Filmography. 720 pp., frontis., illus., figs., apps., bibl., indexes. Washington, D.C.: Smithsonian Institution Press, 1997. $75." Isis 94, no. 3 (2003): 544–45. http://dx.doi.org/10.1086/380705.

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45

Jennifer Tebbe-Grossman. "Medicine’s Motion Pictures." Film & History: An Interdisciplinary Journal of Film and Television Studies 39, no. 1 (2009): 98–99. http://dx.doi.org/10.1353/flm.0.0076.

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46

Cho, Minhaeng. "Molecular motion pictures." Nature 444, no. 7118 (2006): 431–32. http://dx.doi.org/10.1038/444431a.

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47

Hunter, Jefferson. "Pictures and Motion Pictures in the 1940s." Hopkins Review 7, no. 1 (2014): 93–111. http://dx.doi.org/10.1353/thr.2014.0001.

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48

Nimis, Erika. "“Motion pictures” in Nigeria." Visual Anthropology 14, no. 3 (2001): 293–99. http://dx.doi.org/10.1080/08949468.2001.9966836.

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49

Leach-Murray, Susan. "SWANK Motion Pictures, Inc." Technical Services Quarterly 35, no. 1 (2017): 115–16. http://dx.doi.org/10.1080/07317131.2017.1385299.

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50

Bardell, Eunice Bonow. "Pharmacists in Motion Pictures." American Journal of Health-System Pharmacy 45, no. 1 (1988): 179–83. http://dx.doi.org/10.1093/ajhp/45.1.179.

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