Dissertations / Theses: 'Philosophy and film'

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Biderman, Shai. "Philosofilm: towards a cinematic philosophy." Thesis, Boston University, 2012. https://hdl.handle.net/2144/31509.

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Thesis (Ph.D.)--Boston University
This dissertation examines existing attempts to answer the question "Can film philosophize?" (the"CFP question") and offers an original, affirmative account of the possibility of philosophizing by means of film. Focusing OD. narrative fiction films, this dissertation shows how the practice of philosophy can be transformed, and its powers expanded, through its encounter with the realm of moving images. The first chapter presents the groundwork for such a discussion, laying bare the scope of the various theoretical bases through which film and philosophy have been thought to intersect. The chapter follows the threads of extant discussions, from (a) explicitly philosophical approaches to film ("philosophy of film") to (b) in-depth studies of film's thematic constructs ("film theory") and (c) proposals of the symmetry or even fusion of film and philosophy ("film-philosophy"). Each of the three subsequent chapters addresses one of three possible answers to the CFP question.Chapter two focuses on a conservative approach ("the exclusivist thesis") that negates the possibility of any meaningful philosophical capacity in film. Chapter three considers a more moderate view ("the inclusivist thesis") that acknowledges the cinematic capacity for philosophical argumentation, in a manner that is unique, but only partial. The fourth and last chapter introduces an innovative perspective ("the integralist thesis") that countenances a unique cinematic potential to philosophize by insisting on a radical conception of the practice of philosophy itself. To reach this ultimate conclusion, the dissertation elaborates two crucial features of film - the non-linguistic nature of its narrative and the role played by the audience in film - and shows that exclusivists and inclusivists fail to take these features into consideration (largely owing to the principles from which these theorists set out to answer the CFP question). Exclusivists and inclusivists argue that film cannot philosophize (at least not properly) because philosophizing is an essentially linguistic endeavor and film is not.If, however, those crucial features are taken into account, it becomes apparent that exclusivist and inclusivist approaches alike are fatally flawed. The dissertation concludes, in conversation with the integralists, with an affirmation of film's philosophical potential.

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Biermann, Brett Christopher. "Travelling philosophy from literature to film /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2006. http://dare.uva.nl/document/51450.

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Nigianni, Chrysanthi. "Rethinking 'queer' : a film philosophy project." Thesis, University of East London, 2008. http://roar.uel.ac.uk/3844/.

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My Ph.D thesis entitled 'Re-thinking Queer: A film-philosophy project' aims at articulating a discourse on sexual/difference by taking two critical steps: the first is signalled by a critical moving away from Queer Theory and its linguistic/cultural apparatus, on the basis of its failure to break away from a 'normative' (molar) notion of subjectivity; the second is related to an experimental coming together of philosophy and cinema - a coming together which actualises a thinking philosophically with film through the practice of writing as art. The thesis overall suggests a rethinking of 'queer' through the becoming-woman-lesbian concept; a concept that is explored in relation to desire, ethics and time within particular cinematic events. The thesis employs two different discourses: an analytical/critical discourse on desire, ethics and time that draws on the philosophy of Deleuze and Guattari, Bergson, Nietzsche and the so-called neo-materialist feminism (Grosz, Braidotti), and a more creative, poetic writing that thinks with the filmmind.

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Wood, Sarah. "Lost film found film." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/48012/.

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In an age where the historical event is mediated increasingly through the still and moving image, new stress is placed on the archival image as surviving evidence of and performer of history. Lost Film Found Film asks what the scope is for re-intervention by artists who engage with the documentary archival. What is found in their reappropriation? What is lost in the remix? Through a discussion of key works by Jean-Luc Godard, Hito Steyerl, Harun Farocki, Jayce Salloum, Johan Grimonprez and Eyal Sivan, Lost Film Found Film offers a definition and a description of what I have called the Cinema of Aftermath. I define this as cinema that evolved in the aftermath of the Second World War, that deploys found footage film not only as a form of critique but also as a form of participation in wider historical and political events. I argue that the Cinema of Aftermath comments on politics and is also political. Central to its project is a questioning of the potency of the archival image in both its self-reflexive and wider cultural use. In three chapters, I explore how the Cinema of Aftermath recalibrates the meaning and renews the formal possibilities of the documentary, and analyse the performance of memory, truth and evidence by this aestheticisation of archival image.

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Evans, Christine. "The work of love : Slavoj Žižek, universality, and film philosophy." Thesis, University of Kent, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604005.

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This thesis investigates Slavoj Zizek's methodology and his radical theories on love and universality , and explores their philosophical and linguistic reverberations within film analysis. In interrogating Zizek's methodological interest in parallax - a mode in which one grasps both the thing and its opposite simultaneously - as well as his philosophical and psychoanalytic focus on love, I argue that Zizek's work has changed the way that we think about both universality and film. Like Zizek's project of destabilizing traditional attitudes towards 'higher' and 'lower-order' culture and its analysis, philosophy, psychoanalysis, and theory are never static in their application or i identity. In Zizek's work, we encounter a form of critical engagement (parallax) in which reversal and inversion constitute the subversive core of our current cultural sphere. These inversions materialize in the visual field but - as I argue - they must be explored via the route of their philosophical potentiality. In this sense, the thesis not only investigates Zizek's own contributions to philosophy, fi1m theory, and culture, but employs him to initiate discussions on seemingly incompatible topics: visual culture and love, stylistic authorial proclivities and desire, theory and belief. Each chapter in the thesis involves analyses of individual fi1ms in relation to rhetorical devices and the key Zizekian concerns of parallax, appearance, universality, and love. These chapters explore discourses on philosophy and film and question Zizek's place in these systems, Zizek's thematic and stylistic attraction to inversion, appearance, analogy, and tautology, and the implications of using love to illuminate a contemporary approach to universality. Throughout, I argue that Zizek's methodology creates an analytical space in film philosophy which is hospitable to radical and necessary involutions.

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Baracco, Alberto. "Phenomenological hermeneutics of film philosophical thinking : a hermeneutic method for film world interpretation." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/37321/.

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Over the past few decades, the relationship between film and philosophy has been an object of an intense debate among film scholars, revitalizing some basic theoretical questions about cinematic representations and their meanings. As a result of this debate, many recent works in film philosophy, adopting the approach identified with the term 'Film as Philosophy' (FaP), have considered film as capable of its own philosophical thought. from this specific research perspective, the thesis proposed a new methodological strategy in maintaining FaP. The main aim of this thesis is to develop a hermeneutic method for the interpretation of film philosophical thinking. Starting from the fundamental relationship between film and filmgoer, the proposed method is founded on the concept of the film world. This concept is particularly effective because it identifies the film both as a world to be percieved, which emotionally involved the filmgoer, and as a world to be interpreted, which calls for a philosophical enquiry into its meanings. Moving from the theoretical perspective of phenomenological hermeneutics, combining Merleau-Ponty's and Ricoeur's philosophies, and reconsidering Goodman's theory of worldmaking, the film world becomes the hermeneutic horizon from which film philosophical thought can emerge. The definition of the method proceeds via a detailed examination of Ricoeur's philosophical thought, especially with regard to his hermeneutics of text and logic hermeneutics. Ricoeur's hermeneutic methodology has the potential to provide a valuable resource for film studies by inviting scholars to consider film interpretation in terms of film world hermeneutics, but only on the condition that an open and self-critical dialogue with different perspectives is part of the interpretive process.

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Holtmeier, Matthew. "ETSU Philosophy Club Lecture Series." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/7821.

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Sorensen, Abigail. "The Feminine Sublime in 21st Century Surrealist Cinema." Wright State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=wright1464046230.

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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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Warr, Nicholas Alexander. "Peculiar theory : the problem of philosophy in Siegfried Kracauer's 'Theory of Film'." Thesis, University of East Anglia, 2013. https://ueaeprints.uea.ac.uk/47906/.

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The republication of Theory of Film: The Redemption of Physical Reality by Siegfried Kracauer (1889-1966) in 1997 marked not just the highpoint of a period of renewed interest in his work, a period initiated by a series of events organized to mark the centenary of his birth, but also the limit of his scholarly influence. Though enthusiasm for his early sociological and cultural criticism written in Frankfurt and Berlin during the 1920s and 1930s continues to permeate research in numerous other disciplines within the humanities, his film theory continues to have little or no impact on the debates that currently define film studies. The reason for this, I argue, relates to the problematic role of philosophy in his film theory. Focusing primarily on Theory of Film, I examine in detail what makes Kracauer’s theory peculiar; peculiar in the sense that it belongs specifically to the film medium and peculiar in regard to the ambiguous philosophical claims that distinguish it from subsequent methods of film analysis. The contemporary image of Kracauer as a cultural philosopher, I argue, restricts how we read the relationship between film and philosophy in his work. I propose that from the perspective of the contemporary film-philosophy debate a critical notion of the cinematic can be restored to all facets of his work enabling a clearer understanding of how Kracauer comprehends the relationship between the filmmaker, spectator and film theorist. In turn, I conclude, this review of Kracauer’s cinematic approach as a democratised form of critical agency will benefit the understanding of philosophy and film theory as related forms of social practice.

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Buffington, Chelsea. "Technohumanity| Films as a Lens for Examining How Humans and Technology Co-shape the World." Thesis, Salve Regina University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10808905.

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Utilizing a postphenomenological lens, in this study, I analyze Human Security Era (1990s–2010s), techno-futurist films as case studies to explore how humans and technology can and do co-shape a more harmonious world, resulting in TechnoHumanity. To build a techno-humane world, humans must find a way to spur technological innovation and advancement, embedding ethics in design to avoid a dystopian path to dehumanization. Films, and specifically the content or text of the films, provide case studies for a postphenomenological analysis to explore designed, in-design, and future technologies and their interrelationship with humanity.

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Hrehor, Kristin A. "Violent Content in Film: A Defense of the Morally Shocking." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/537004.

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Philosophy
Ph.D.
Violent content in film has been extensively debated from a myriad of different perspectives, and both within and across a number of different disciplines. Oftentimes, the more violent the content that a film contains, the more likely such content is considered to negatively detract from the value of the work in question. However, this dissertation provides an argument to the contrary with respect to a specific set of cinematic examples and a particular way in which violent content is represented within them. In what follows, I argue that there are grounds to believe in the philosophical value of engaging with works that “morally shock” their audiences through the representation of violent content. First, by analyzing a combination of works ranging from the more conservative American classic Deliverance (1972) to the more controversial French avant-garde Irréversible (2002), I provide a case for reclassifying violent films into different genres, only one of which contains films which elicit a particular kind of response that I single out for further examination. In considering the implications of our responses to these “morally shocking” films, I provide a foundation against which such films can be considered to have a distinct kind of philosophical value by exploring their significance with respect to: (1) issues of interpretation and value in the philosophy of film, (2) recent developments in research on moral judgment, and (3) arguments both for and against the idea that film can be thought of as a kind of philosophy. Ultimately, I argue that our response of moral shock to the content of these films has the subversive effect of destabilizing our moral orientation and consequently motivating philosophical reflection in innovative ways.
Temple University--Theses

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McKean, Jamoula. ""Doesn't he know who I am?" : Lebanese children's civil war : film, history, philosophy." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/6452/.

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The thesis uses the theories of Giorgio Agamben in three major works: Homo Sacer, State of Exception, and Infancy and History, in conjunction with a seminal work by Paul Ricoeur Memory, History, Forgetting, to explore the narrative films of three Lebanese directors. Agamben writes about the bio political body which must declare itself as under the total subservience of the sovereign in order to attain its rights to citizenship. He points to the relationship of language acquisition and the socialising aspect of infancy. Ricoeur’s theories are based on the narrative and the functional aspects of memory. These films are made from the child’s point-of-view, and span the years of the Civil War, from 1975- 1990. Based on events in the capital city Beirut, these largely autobiographical films outline the circumstances of the war. The directors provide a visual portrayal demonstrating that language and gesture, within time and space, are particularly important when raising issues and debates around the relationships between the private and the public. The perspective of the social and political structures lead to an exploration of the importance of the placement of the pre pubescent child within this environment. Gender roles, in particular the relationship of fathers to sons within the patriarchal society, help to demonstrate how the cycle of power transmission may be subverted.

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Yanick, Anthony Joseph. "Prolegomena to a Theory of Cinematic Bodies: What Can an Image Do?" Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1386619321.

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MacKenzie, Scott 1967. "The cadaver's pulse : film theory's construction of the viewer and the real." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60677.

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The thesis examines the nature of the "real" in the cinema; I overview the theories that are historically used, and offer some alternative models. First, I survey how the "real" has been traditionally theorized in film theory. The realist/anti-realist debate is addressed; the psycholinguistic theory of Jacques Lacan and Jean Baudrillard's postmodern model of the hyperreal are reexamined in light of their profound effect on film theory's model of the cinematic "real." I argue against these theories as models of spectatorship and the "real" because of their hermetic nature.
I then consider Walter Benjamin's Passagen-Werk and the "dialectical image" as an alternative approach to the problems of the "real." Benjamin's model takes into consideration both the epistemological nature of the image and the problematics of cultural context. In conclusion, I analyze the problem of mediation in any model of the cinematic "real."

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Birks, Chelsea. "Limit cinema : Bataille and the nonhuman in contemporary global film." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/9086/.

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This thesis explores how contemporary global cinema represents the relationship between humans and nature. Drawing from the philosophy of Georges Bataille, especially his notion of transgression, I argue that certain contemporary films attempt to transgress the limit between human and nonhuman realities. I call these films limit cinema because they operate at the boundary between thought and world: they interrogate the lines between nature and culture and reframe our relationship to aspects of existence in excess of human thought. In taking a film-philosophical approach, I explore not only what philosophy might be able to say about ecological aspects of contemporary film, but also what films can contribute to philosophical discussions of humanity’s relationship with the natural world. To that end, I bring Bataille into conversation with more recent discussions in the humanities that seek less anthropocentric modes of thought, especially film ecocriticism, speculative realism, and other theories associated with the nonhuman turn. I approach the limit between human and nonhuman realities in a number of ways. The films of Apichatpong Weerasethakul and Ben Wheatley are interpreted in relation to a Bataillean understanding of the sacred, in which nonhuman reality is posited as immanent to this world but beyond human understanding. Two films, Jauja (Lisandro Alonso 2014) and Tectonics (Peter Bo Rappmund 2012), are analysed through the unlikely pairing of speculative realism and apparatus theory; these films demonstrate that the same representational structure can simultaneously implicate us more and less in anthropocentrism. Human subjectivity therefore cannot be cast aside so easily, and I argue that film ecocriticism cannot do without a theory of cinematic subjectivity. I begin to lay out such a theory in relation to Lars von Trier’s Nymphomaniac (2013) and Jonathan Glazer’s Under the Skin (2013), arguing that these films evoke subjectivity as an unstable process of turning inside out. I conclude by considering love as a way of relating to the nonhuman, using Grizzly Man (Werner Herzog 2005) and Konelīne: Our Land Beautiful (Nettie Wild 2016) as examples of cinematic expressions of love for nature. Though I argue that it is finally impossible to see beyond our finite human perspectives, limit cinema pushes against the boundaries of thought and encourages an ethical engagement with perspectives beyond the human.

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Bodley, Antonie Marie. "The android and our cyborg selves| What androids will teach us about being (post)human." Thesis, Washington State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3715164.

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In the search for understanding a future for our selves with the potential merging of strong Artificial Intelligence and humanoid robotics, this dissertation uses the figure of the android in science fiction and science fact as an evocative object. Here, I propose android theory to consider the philosophical, social, and personal impacts humanoid robotics and AI will have on our understanding of the human subject. From the perspective of critical posthumanism and cyborg feminism, I consider popular culture understandings of AI and humanoid robotics as a way to explore the potential effect of androids by examining their embodiment and disembodiment. After an introduction to associated theories of humanism, posthumanism, and transhumanism, followed by a brief history of the figure of the android in fiction, I turn to popular culture examples. First, using two icons of contemporary AI, Deep Blue, a chess playing program and Watson, a linguistic artificially intelligent program, I explore how their public performances in games evoke rich discussion for understanding a philosophy of mind in a non-species specific way. Next, I turn to the Terminator film series (1984-2009) to discuss how the humanoid embodiment of artificial intelligence exists in an uncanny position for our emotional attachments to nonhuman entities. Lastly, I ask where these relationships will take us in our intimate lives; I explore personhood and human-nonhuman relationships in what I call the nonhuman dilemma. Using the human-Cylon relationships in the reimagined Battlestar Galactica television series (2003-2009), the posthuman family make-over in the film Fido (2006), as well as a real-life story of men with their life-sized doll companions, as seen in the TLC reality television series My Strange Addiction (2010), I explore the coming dilemma of life with nonhuman humanoids.

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Mindich, Brad. "Reflecting on the Past, Understanding the Present, and Controlling the Future| Pre-Nostalgia and Its Impact on Memory, Temporality, and Identity as Represented in Classic Films from the 1980s." Thesis, Dartmouth College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10189805.

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Pre-nostalgia exists at the intersection of identity, memory, and temporality. The core difference between what is understood to be a nostalgic feeling versus a pre-nostalgic feeling comes from the individual?s motivation to act due to an instantaneous awareness of, or concern with, missing something at the exact moment of loss and prior to the creation of a recallable memory. The degree, scope, and nature of the motivation and the thing being missed are specific to the individual at that moment in time, and the catalyst for this awareness and its subsequent behavior is primarily due to an engagement with a cultural object. The types of cultural objects in question are almost infinite ? music, film, cars, art, or another individual, among many others. This immediate connection with the object triggers a response from the individual that causes what I have described as a conscious or subconscious temporal compression and a newfound awareness of the perceived distance and proportion between this experience/awareness and the individual?s past, present, and future, and their understanding of their sense of self. This thesis seeks to explore and demonstrate the existence of this virtually undocumented phenomenon via two analytical and interrelated processes. First, I draw on psychoanalysis, philosophy, and nostalgia theory as foundational disciplines to document an academic structure of pre-nostalgia. Second, using the medium of film as a cultural object, I apply my research to identified characters, scenes, and soundtracks from several films from the 1980s to objectively demonstrate the manifestation of this phenomenon. The purpose of this dual analytical approach is to provide both spectators and evaluators of this theory an environment in which to objectively observe and understand what I believe is an intrinsic phenomenon, and my overarching goal is to advance the academic and practical discussion of memory and nostalgia theories.

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Furtado, Sylvia Beatriz Bezerra. "Images that resist: in the intensive Aleksander Sokurov film." Universidade Federal do CearÃ, 2010. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=11178.

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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior
The artistic phenomenon should be , first of all defined by the description of forces . In the forms , colors , sounds , materials , and in the special case of cinema mode these forces as part of automation mechanism images . In this sense Deleuze gives to the arts by assigning the role to detect the signs , capture them and make them sensitive . Such that we can no longer say about art as a place of production of meanings , but the trial of strength. It is, this field of think of art as material composition forces . Art does not reproduce forms imaginary , but captures materials , concrete strength. The potency of the art resides therefore in different assemblages with the materials that compose . Only then can understand why , in Deleuzian perspective, the film should be seen by the internal relationship images, the way they articulate their threads - plans , movements camera, the relationship between movement and time, etc. , and not by the relationship they establish with real or believable to the production of images. Not indices of realism or rapprochement between the visible world and the ways that we take the film , but at he is able to capture and compose sensitive world.
O fenÃmeno artÃstico deve ser, antes de tudo, definido pela inscriÃÃo de forÃas. Nas formas, nas cores, nos sons, nos materiais, e no caso especial do cinema, no modo como essas forÃas fazem parte do mecanismo de automaÃÃo das imagens. Nesse sentido que Deleuze dÃ Ãs artes ao atribuir-lhe o papel de detectar os signos, captÃ-los e tornÃ-los sensÃveis. De tal modo, que jÃ nÃo podemos mais dizer sobre a arte como lugar de produÃÃo de significados, mas de experimentaÃÃo de forÃas. Trata-se, neste campo, de pensar a arte como composiÃÃo de forÃas materiais. A arte nÃo reproduz formas imaginÃrias, mas capta forÃas materiais, concretas. A potÃncia da arte reside, portanto, nos diferentes agenciamentos com os materiais que a compÃe. SÃ assim podemos entender porque, na perspectiva deleuziana, o cinema deve ser visto pela relaÃÃo interna das imagens, pelo modo como se articulam seus encadeamentos â planos, movimentos de cÃmera, relaÃÃo entre movimento e tempo, etc, e nÃo pela relaÃÃo que estabelecem com o real ou com a produÃÃo de imagens verossÃmeis. NÃo Ã pelos Ãndices de realismo ou de aproximaÃÃo entre as formas e o mundo visÃvel que devemos tomar o cinema, mas pelo que ele Ã capaz de captar e compor mundo sensÃveis.

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明奇英 and Kee-ying Thomas Ming. "An analysis of the filmic: a philosophical grounding for film aesthetics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212578.

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Bauer, Shad A. "Film, Music, and the Narrational Extra Dimension." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1365444831.

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Jones, Nisha. "Oikonomics : economy and the (im)possibility of hospitality in philosophy, selected contemporary film and literature." Thesis, University of Sussex, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496997.

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Arguments for immigration are often posed on the basis that it is 'good for the economy'. This provokes those who wish to contest the ethics of this purely economic notion of hospitality. I argue in this thesis that as hospitality, an encounter between host (self) and guest/stranger/foreigner (other), presupposes that the former is 'at home', this encounter is already economic in more than one respect a) The terms themselves are economic (i.e. differential); b) Home presupposes economy and economy lends home both its singularity and its need for expansion — for the appropriation of the other. I call this syllogism of home, economy and the encounter with the other, 'Oikonomics'. This thesis explores the ways in which oikonomics functions, and, drawing heavily upon the writing of Jacques Derrida, examines how it supports the centrality of the host/self and affords the appropriation of the other, while also keeping the latter at a distance - objectified; a symbolic value. I demonstrate this in critiques of Aristotle's Politics, Hegel's Elements of the philosophy of right, Levinas's Totality and infinity and selected texts by Heidegger.

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Macdonald, Robert. "The informe in David Lynch's cinema : reading American film through the 'Philosophy' of Georges Bataille." Master's thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/8731.

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Bibliography: leaves 175-188.
This dissertation argues that several of American film-maker David Lynch's works employ a subversive textual operation in their representations of America and American life that is comparable, in both its approach and political signiﬁcance, to the collapse of conceptual systems French philosopher Georges Bataille termed 'informe'. Each chapter of this thesis explores an aspect of American ideology that has been shaped within filmic conventions of genre, narration and representation, analysing how the informe in Lynch's films encourages awareness of difference; of other possibilities for representing human relations beyond these powerful circumscriptions of identity and ideology. In each analysis, the 'work' of the informe in the ﬁlms under discussion is also linked to some of the prominent political concerns dealt with in Bataille's work. These include his focus on genuine human connectedness, eroticism and transgression, all of which are couched within a broader philosophical emphasis that emerges in his work on the need for balance in social existence between the 'heterogeneous' or 'sacred' aspects of society on the one hand, and the 'homogeneous' or 'profane' on the other.

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Roesch, Matthew. "Les Sensations fortes: The phenomenological aesthetics of the French action film." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1499821478202158.

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Kennedy, Barbara M. "Towards an aesthetics of sensation : a reconsideration of film theory through Deleuzian philosophy and post-feminism." Thesis, Staffordshire University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327506.

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Williams, Daniel. "The role of imagination in Bergman, Klein and Sartre." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/7448.

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This thesis provides an inter-disciplinary study of selected works by Ingmar Bergman. I explore how key concepts from Melanie Klein and Jean-Paul Sartre apply to the focus on characters in a state of heightened imagination; and the value placed on imagination in the construction of these films. This involves recognition of the way an active response from the viewer is encouraged. Klein, Sartre and Bergman also attend to contextual factors that challenge any notion of subjectivity as sovereign and the power of imagination is frequently placed in a social context. All three figures develop their ideas within specialised fields drawing on the influence of others. Chapter 2 shows how Klein’s ideas relate to the influence of Freud before exploring how her work can be applied to Bergman’s films through the example of Wild Strawberries. Chapter 3 concentrates on Sartre’s early work, The Imaginary and considers how this is significant in relation to some of Sartre’s better-known philosophical ideas developed during and after the Second World War. These ideas will lead to an exploration of The Seventh Seal. Chapters 4, 5, and 6 focus on three films from distinct parts of Bergman’s career: Summer with Monika, The Virgin Spring and Hour of the Wolf. In Chapter 4 this will be preceded by a brief over-view of three more films from the early part of Bergman’s career. These chapters explore how Kleinian and Sartrean ideas can be incorporated in close analysis, and alongside selected critical responses to the films. The analysis integrates key points from Klein and Sartre in a methodology specific to film studies. This will include analysis of cinematic elements such as camera work and lighting, and recognition of narrative structure and character development

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Morrison, Benedict. "Complicating articulation in narrative film : tracing the relationship between inarticulate form and character." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:4c58ecf8-e330-4206-82ea-62451b8d2e84.

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This thesis explores the relationship between film form and character expression, both of which are seen as articulated structures, that is utterances in which separable parts operate cooperatively to create meaning. The specific films examined present characters who struggle to express themselves. These inexpressive characters are combined in each case with a disrupted form which displays its own many-jointed structure. The thesis argues that the dynamic relationship between inarticulacies of character, narrative, and form generates an indeterminate dialectic. The unresolved relationship between parts and whole (reminiscent of a complex mosaic structure) complicates the process of reading for univocal meaning. The operation of this dual inarticulacy is discussed in Chapter One. Each subsequent chapter is devoted to a single film and a particular example of formal disjuncture: contrapuntal narrative levels, clashing styles, discontinuous editing, bricolage, the dislocation of genre signifiers from conventional meanings, and intermedia. The films discussed at length in connection with these theories are: 'Journal d'un curé de campagne' (1951); 'Germania anno zero' (1948); 'Belle de Jour' (1967); 'Distant Voices, Still Lives' (1988) and 'The Long Day Closes' (1992); 'Meek's Cutoff' (2010); 'The Pillow Book' (1996).

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Jones, Daniel O. "The Soul That Thinks: Essays on Philosophy, Narrative and Symbol in the Cinema and Thought of Andrei Tarkovsky." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194999476.

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Jaudon, Raphaël. "Politiques du cinéma : pour une lecture esthétique de l’engagement des films." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2101/document.

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Partant de la difficulté qu’il y a à définir le « cinéma politique », ce travail se propose dans un premier temps de synthétiser, d’organiser et d’actualiser les savoirs disponibles sur le sujet. L’objectif est d’esquisser un panorama, non des films eux-mêmes, mais des discours théoriques qui accompagnent leur développement et fixent leurs objectifs. Ces discours peuvent être rassemblés en trois grands modes de lecture, en fonction de la définition qu’ils donnent de la politique et de la manière dont ils la rendent disponible pour les films. La deuxième partie procède à partir d’une hypothèse inverse : certes, on peut identifier des formes d’engagement dans les arts, mais on peut également constater que la politique est traversée par des logiques esthétiques, au sens de ce qui a trait à la perception et à la sensation (fictions, procédés de mise en scène, modes de distribution de l’espace et du temps). Or, si l’expérience esthétique est une modalité de l’expérience politique, cela signifie que les œuvres d’art peuvent avoir un rôle à jouer dans la manière dont une société se donne à voir, à éprouver, se transforme. À partir de là, il reste à imaginer les conséquences de cette hypothèse dans le champ de la théorie du cinéma, l’enjeu étant de parvenir à formuler un quatrième mode de lecture des films : la lecture esthétique. Les onze thèses qui composent la troisième partie s’efforcent d’en dessiner les contours, sur le plan à la fois théorique et méthodologique. Enfin, des analyses de films des années 1960 (une période qui passe souvent pour « moins politique » que la suivante) viennent mettre en pratique la lecture esthétique, explorer ses possibilités, éprouver ses limites. Chaque analyse se présente comme le contrechamp d’une thèse, de manière à illustrer la complémentarité des discours et des images. L’ambition de ce travail est donc de proposer une nouvelle analytique du cinéma politique, mais aussi de montrer ce que les films sont susceptibles d’ajouter aux problèmes politiques dont ils héritent
Noticing how difficult it is to understand the notion of “political cinema”, I intend to summarize, arrange and update the knowledge on this subject. Part I presents an overview of theoretical discourses that try to define the purpose of political films. These theories can be gathered into three major reading frameworks, depending on the definition of politics they rely on and the way they extend it to include filmic phenomena. Part II reverses the perspective: it certainly is possible to identify several forms of commitment in the movies, but one can also notice that politics itself is woven from aesthetic logics, i.e. issues of perception and sensation (fictions, staging, directing, partitions of space and time). Yet if aesthetic experience is involved in political experience, it means that works of art can play a crucial part in the way a given society takes its definite shape, produces determined feelings, evolves. This hypothesis prepares the ground for a fourth reading framework that I present as a legitimate candidate to fulfill the task of understanding political cinema: the aesthetic reading. Part III consists of eleven theses that try to outline it, from both a theoretical and a methodological point of view. Finally, I put the aesthetic reading into practice by providing analyses of films from the 1960’s, a time often seen as “poorly committed”. The intention is to investigate the relevance of the aesthetic reading and its limits. Since politics is about discourses and images complementing one another, the whole part adopts an alternate structure, each analysis immediately following and expanding on a thesis. This study thus aims at renewing the methods and purposes of political film analysis, but also intends to understand what a film can do to the political problems it inherits

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Holtmeier, Matthew. "Vital Coasts, Mortal Oceans: The Pearl Button as Media Environmental Philosophy." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/7825.

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In The Pearl Button, Patricio Guzman explores the role water played in shaping how the Selk’nam inhabited the coasts of the Tierra del Fuego in Patagonia through “cosmovisions,’ sequences that extend beyond human perception, even as they link the habitation of indigenous peoples to subsequent colonial and political projects. Guzman’s “cosmovisual aesthetic” warrants dissection in the form of a video essay because of its complicated interplay between editing and shot distance, which establishes a critical bioregionalism that acknowledges the unique qualities of place, here the Tierra del Fuego, as well as the forces of globalization that threaten it. Guzman’s cosmovisual aesthetic ranges from extreme close-ups to reveal minute details in objects to aerial shots that articulate the shapes of coasts and even to telescopic shots depicting planets and nebulae. He works with archival photography and the superimposition of images/sounds in order to create a pluriverse of peoples and environments, which moves beyond human audiovisual and temporal perception. In doing so, The Pearl Button links the ways in which the Selk’nam inhabited Chile, depending on its waters, to the ocean as the source of the colonial project of Spain and site of political murders under the later dictatorship of Augusto Pinochet. Guzman’s cinematic elaboration of Indigenous worldviews resonates with contemporary Chilean philosophers Humberto Maturana, Francisco Varela, and Ricardo Rozzi. From cybernetics to ecological philosophy, this video essay weaves the insights of these Chilean philosophers with Guzman’s cosomovisions in order to highlight the complex ecological insights at the intersection of Indigenous thought and film form. In particular, it extends Rozzi’s practical model of Field Environmental Philosophy to communicating ecological philosophy through media.

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Fleming, David H. "Drugs, danger, delusions (and Deleuzians?) : extreme film-philosophy journeys into and beyond the parallel body and mind." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/985.

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Drugs, Danger, Delusions (and Deleuzians?) opens up a philosophical investigation into a series of ‘extreme’ mind and body films drawn from different historical contexts. Through two sections and four distinct chapters, cinema is explored as an agent of becoming that allows viewers to think and feel in an affected manner. Investigating a broad spectrum of extreme narratives focusing on drugs, hooligan violence, insomnia and madness, the project provides a focused historical understanding of the films’ affective regimes and aesthetic agendas. The different lines of flight and escape explored on-screen all somehow appear to spiral around the same issues, concepts, ideas and philosophies. Utilising the cinematic theories of Gilles Deleuze along with his philosophical work co-authored with Félix Guattari, the thesis aims to investigate a range of related films, that in the extreme, reveal underlying models of an integrated or parallel mind and body and immanently embedded identity; wherein the concept of a stable and fixed being is replaced by that of a fluid becoming. All chapters investigate how immanently embedded characters embark upon extreme or dangerous lines of escape, where the reinvention of living and thinking is explored and made visible. The first section investigates a range of ‘head-films’ that take the mind as their theme, but are found to plicate and expand consciousness into the parallel body. The second section investigates extreme body films that push the sensory-motor schema to its limits so that thought, perception and consciousness become affected. The two interrelated sections investigate how the films and filmmakers employ different regimes of mind and body cinema to aesthetically convey and relay these concepts to the spectator. The project thus strives to develop Deleuzian paradigms beyond their original scope to explore parallel-image regimes and sequences that allow spectators to think and feel the films’ underlying philosophical concepts and positions.

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Moore, Abigail. "With Great Power: A Narrative Analysis of Ethical Decisions in Superhero Films." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/558570.

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Media & Communication
M.A.
This study examines ethical decision-making processes as practiced by the cultural mythic hero of our time: the superhero. This study conducts a rhetorical narrative analysis of three key superhero films (The Dark Knight, Captain America: Civil War, Avengers: Infinity War) to locate moments when superhero characters make ethical decisions. The study evaluates their decision-making process using three ethical frameworks selected for their popularity in ethics courses as well as their relevance to the subject material; deontology, virtue ethics, and utilitarianism. Superheroes are famous for doing ‘the right thing’, and the purpose of this study is to determine to what degree these films function as an ethics education tool for the public which consumes them. In other words: do these films have a potential to instruct the viewer in answering ‘what is right’? This study looks closely at the ethical decision-making process in superhero films and determines the ways in which superhero films may indicate a potential for teaching ethical theory when these characters make the moral decisions for which they are famed. This study determined that utilitarianism and virtue ethics are both highly visible in superhero films, but rather than serving as a medium for learning, these films build and glorify a cult of personality. Ultimately, these films create messages which encourage the viewer to blindly accept ethical decisions made by the powerful, and to tolerate – and even crave – a tyrannical ruler. Because of the cultural impact these films have, a propagandistic message like this reaches millions of people, and it is vital to understand what the contents of that message are.
Temple University--Theses

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Mussell, Simon Paul. "Constellations of Adornian theory and film : readings of Adorno with Tarkovsky and Haneke." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6964/.

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This thesis engages in analysis and interpretation of certain ideas within the critical theory of Theodor W. Adorno (1903-1969). These analyses are placed into a constellational relationship with some filmic works of Andrei Tarkovsky and Michael Haneke. In doing so, I aim to highlight the ongoing relevance and validity of at least some core elements of Adornian theory in a contemporary context. The thesis consists of four substantive chapters. The first chapter functions as an extended introduction to and justification for the thesis as a whole, and it provides the theoretical background to the project before explicating the idea of a constellational method. The second chapter explores the notion of mimesis in Adorno's thought and Tarkovsky's films as a crucial rejoinder to the prevailing ‘communicative' paradigm instituted in large part by Jürgen Habermas' work. The third chapter considers the importance of marginality to the task of social critique by analyzing Adorno's theoretical reflections on the matter and how these can be related to and supported by Haneke's filmic work. The fourth and final chapter examines the relationship between humanity and nature within two preeminent ecological discourses, in contrast to Adorno's critical theory and some of Tarkovsky's films, with the intention of showing how the latter offer a more nuanced and dialectical understanding of this relation. Throughout the analyses herein, I defend and demonstrate the fertility and pertinence of Adornian theory, for both the interpretation of film and robust criticism of extant social and political conditions. The thesis shows that by constellating Adorno's critical theory with film one may bring out important insights that enhance and enable people's capacity to critically respond to the woefully inadequate status quo.

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Hager, Steven Christopher. "An Incompatibility between Intentionalism and Multiple Authorship in Film." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/philosophy_theses/57.

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The multiple authorship view for film is the claim that multiple authors exist for almost any given film. This view is a recent development in opposition to the longstanding single authorship view which holds that there is only one author for every film, usually the director. One of the most often-cited reasons in support of the multiple authorship claim is that multiple authorship views more successfully explain the following fact about filmmaking better than single authorship views: filmmakers’ intentions sometimes conflict with each other during the production of a film. However, since multiple authorship views cannot adequately explain how a single filmic utterance can result from conflicting intentions, I want to argue that the single authorship view should be reinstated in those special cases where two or more agents are involved in the production of a filmic utterance and where the intentions of those agents are incompatible.

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Hendricks, Jonathan. "Playing-With the World: Toy Story's Aesthetics and Metaphysics of Play." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6709.

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Pixar’s Toy Story (John Lassiter, 1995) is not just a story about toys and the children that play with them, but a demonstration of how we interact with the world. This thesis looks at the way in which both main children, Andy and Sid, interact with their toys and how this interaction is one that is structured by way of what Martin Heidegger calls “Enframing.” In this modality of playing, toys and other things and entities in the world, and the world itself, appear to the children as on-hand resources for use at any time and can be molded, as if plastic, to fit their needs. I problematize this way of interacting with the world by looking at not only it manifests in Toy Story, but also in the process of the film’s production, Silicon Valley aesthetics, our reliance upon plastics, neoliberal capital in light of the “1099 economy,” and ecological ramifications of these practices as seen in the ecological registers. Through these metaphysics, we seek to mold the world in accordance with human-centered interests as we play within the world. My thesis also turns to understand how metaphysics has transformed over time so that we can work towards bringing forth a different way of relating to the world that is sustainable, ethical, and one of care. I argue for an understanding of things in the world likened to an interconnected and interdependent network that we are always connected to, and in an “interplay” with. I conclude the project by arguing for a possible turn to the writings of Alfred North Whitehead, Henri Bergson, and other philosophers who work in process metaphysics for a possible reinvigoration of “apparatus theory,” which has lost favor with many film scholars since the 1970s/1980s. I argue that a process framework could provide fresh light on the cinematic apparatus in light of digital at-home streaming services, as well as work towards revealing stronger interlinked connections between media, economics, ecology, geopolitics, etc.

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Abel, David. "Sound and image : experimental music and the popular horror film (1960 to the present day)." Thesis, University of Central Lancashire, 2008. http://clok.uclan.ac.uk/7650/.

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This study investigates the functional relationship between sound and image within a particular generic and historical context - experimental music and the popular horror film, from 1960 to the present day. The study responds to a significant gap in the literature that requires sustained and in-depth academic attention. Despite recent expansion, the field of film music studies has yet to deal with alternative functional models that challenge the overall applicability of the dominant narrative-based theoretical framework. Recent scholarship suggests that a proper theoretical comprehension of horror film music's primary function requires a refocusing of the hermeneutic emphasis upon dimensions of the cinematic (or audio-visual) sign that can be described as `nonrepresentational.' This study applies a relatively new psychoanalytical framework to explain how the post-1960 horror film deploys these non-representational elements, incorporating them into an overall cinematic strategy which indexes the transition towards a post-classical cinematic aesthetics. More specifically, this study assessesju st how efficiently experimental musical styles and techniques aid the reconfiguration of the syntactical components of horror film to these very ends. Using three case study directors, this study focuses upon major developments in musical style and cinematic technology, describing the ways in which these have facilitated this cinematic strategy. A particularly useful contribution to the knowledge is made here via the study's explanation as to how the particular psychoanalytical framework applied can illuminate the functional and theoretical relationships often posited between both the formal and subjective dimensions of the post-1960 horror film experience. The conclusions reached suggest this theoretical explication of post-1960 horror film music's function can now take its place alongside previously dominant narrative frameworks. Given the influential status of the horror genre, the findings of this investigation prove useful for comprehending the increasing heterogeneity of postclassical film music in general, and the functional relationship(s) of sound and image in particular.

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Minchin, Heather Marie. "Emotion in the digital age : Bergson's creative emotion and metaphysical methods for digital video production." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/11262.

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This PhD explores Bergsonian notions of duration and the unrepresentable characteristics of creative emotion. Contemplating emotion through Bergson’s duration assists an understanding of the measure of emotion’s quantitative multiplicity, the complexity of its qualitative multiplicity and its creative potential. The application of these ideas to the Deleuzian cinematic concepts of the movement-image and time-image, allows the exploration of digital and analogue cinematic techniques alongside the characteristics of representable and unrepresentable emotion. The analysis of emotion traverses various historical and contemporary subjects that include areas such as philosophy, science, art and digital sound and moving-image technology. Three video pieces created for this thesis illustrate and elucidate the theoretical argument. The first work deals with movement, duration and change, the second with coexistent time, memory and perception and the third with intuition the élan vital and creative emotion. Each film is intended to allow the viewer/listener to enter their own creative emotion. Thus the research revaluates and elevates the further potentials of emotion, beyond its mere representation in order to discover how its very nature, suggests new approaches to the creation of art work that is itself, able to reveal the nature and process of creative emotion.

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Carboni, Camilla. "Film spectatorship and subjectivity : semiotics, complications, satisfactions." Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/1671.

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Vaughan, Michael Hunter. "From camera to code : Godard, Resnais and the problem of representation in film theory." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:d8752498-1a8c-48ec-b774-b3e9f1e410ea.

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This thesis presents a theory of film representation as a process of organizing relations in order to connote the image's status as a type of representation. It is, thus, a study of film form, the form of its representations. Building from such theoretical sources as Merleau- Ponty and Deleuze, I hope here to use a phenomenological base to build a theory of film semiotics that focuses on the immanent field of film representation, which I will postulate as a structuring of the inter-dependent relationship between the content of representation and the signified source of representation. This relationship is infused through a film text according to various modes of differentiation: between the viewer and viewed, speaker and spoken or what, using principles of phenomenology, I call the problem of subject-object relations. In this study I use this framework of subject-object relations in order to re-conceptualize the problem of film representation and to systematize the fundamental debates in film theory. I will argue that even oppositional theories of film representation can be reconciled through their attempt to understand this immanent field as being organized so as to structure a relationship between the representation and an origin of meaning, or subject-function. This relationship is what I call a system of reference. The filmic subject-function is traditionally located within the camera itself or hi the diegetic subjectivity of a character; I will call these two systems of reference, respectively, objective and subjective representation. And, through a reconstruction of Deleuze's Cinéma project, I will argue that the immanent field of film representation is a constant fluctuation between these two poles, a dialogic circulation of interacting agencies and discourses. This thesis illustrates this fluctuation through a comparative analysis of two French filmmakers, Alain Resnais and Jean-Luc Godard. I will argue that, illustrating similar goals as one finds in the works of Merleau-Ponty and Deleuze, these two filmmakers radically deconstruct film codes in order to destroy the conventional division between interior and exterior that is imposed by classical notions of subjectivity.

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Insell, Maria Katherine. "Avant-garde film theory and praxis : an historical analysis of the narrative/anti-narrative debate." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28074.

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This analysis of the narrative/anti-narrative debate in avant-garde film theory and praxis is contextualized in terms of the developments in Modernism in the visual and plastic arts. The problems raised by the aesthetic strategies formal autonomy versus narrative appropriation are explored by examining several discrete historical paradigms rather than following a strict linear historical chronology of the development of Modernism and avant-garde practices. Therefore the late 1930's East/West debates between the four writers associated with the Frankfurt school were discussed because their discourses reveal a spectrum of possibilities which span each end of this polarized autonomy/efficacy argument. The discourses look at the issues of production aesthetics and reception aesthetics also. Within the parameters of East/West debates, the positioning of the subject in terms of "distracted habit" or "praxis" are critical considerations to a reception aesthetic. Another historical paradigm for this debate was the writing and film practice which emerged from the nexus of the events of May 1968. The East/West debates informed this writing and the development of the aesthetic questions raised by Peter Wollen in the "Two Avant-Gardes." Here the important issues of materialism, ontology, and the development of human perception are raised. The return to narrative is represented by the "second" avant-garde's film practice (Godard, Straub etc.) and informs the issues of new narrative in feminist film practices. This is narrative with a difference however. Here questions of language and the production of culture are critically examined and naturally the narrative/anti-narrative debate continues. Finally, these issues are brought foreword to the contemporary context and related specifically to the production of avant-garde film in Canada. One can see this contemporary debate in light of the past, however, the conclusions drawn by the thesis do not presume to resolve the narrative/anti-narrative debate or prescribe one particular approach, since this will arise from actual practice. The intention of the study is to introduce the central issues raised by social commitment/artistic autonomy and contribute to a better understanding of theoretical and practical implications of the debate over the use of narrative.
Arts, Faculty of
Theatre and Film, Department of
Graduate

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Ryohashi, Aiko. "The progressive philosophy of Studio D of the National Film Board of Canada : a case study of To a safer place (1987)." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23360.

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This thesis explores the relationship between the National Film Board and its audiences, with particular attention to the ways in which the NFB has tried to respond to the needs of Canadians for media representations of themselves, through the Challenge for Change program (1967-1978) and Studio D (1974-). The focus of this work will be on the progressive aspects of NFB productions, which have frequently taken controversial stands against official government policy.
In the process, the place of the NFB within a politics of representation will be discussed, and its critical contribution to the constitution of a Canadian "national identity" will be examined. Finally, this study is part of an attempt to investigate characteristics of Canadian society, with respect both to the functioning of government and to the democratic use of film as a medium enabling culturally marginalized people to find their own voices.

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Bonotto, André 1985. "Documentário e cinema da asserção pressuposta segundo Noël Carroll." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285270.

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Orientador: Francisco Elinaldo Teixeira
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-25T21:14:26Z (GMT). No. of bitstreams: 1 Bonotto_Andre_D.pdf: 1848375 bytes, checksum: 9e343d28c56e7da9003abd8e3b754128 (MD5) Previous issue date: 2014
Resumo: Este trabalho analisa o pensamento do filósofo analítico Noël Carroll a respeito do cinema documentário. Sua abordagem sobre o documentário envolve os temas da objetividade, de intenções autorais, da indexação das obras e da dimensão do traço histórico das imagens. O ponto principal deste pensamento localiza-se em sua teoria do cinema da asserção pressuposta, o que constitui sua definição conceitual para este gênero fílmico. Apresentamos, de início, a formação filosófica e cinematográfica deste autor, ressaltando a posição que ele ocupa no campo dos estudos de cinema e as características do método da filosofia analítica, que ele adota. Examinamos, a seguir, os textos onde Carroll apresenta seu pensamento sobre o documentário, discutindo detalhadamente os elementos presentes em sua teorização. Após isso, problematizamos alguns pontos de sua teoria, como o conceito de asserção, a relação entre as posturas mentais ficcional versus assertiva, e o papel do significado. Apontamos, por fim, relações entre o projeto teórico de Noël Carroll e outras abordagens no campo de estudos do cinema documentário
Abstract: This thesis analyzes the thought of the analytic philosopher Noël Carroll on documentary film. His approach to documentary involves issues of objectivity, authorial intentions, indexing works, and of the historical trace of images. The core of this author's thought lies in the theory of films of presumptive assertion, that which constitutes his conceptual definition for this filmic genre. It is presented, at first, the philosophical and filmic training of this author, with consideration towards the position he occupies in the field of film studies, and towards the method of analytic philosophy he adopts. Works where Carroll presents his thoughts on documentary are, then, examined, with detailed discussion on the elements that compose his theorizing. After that, some points of his theory are problematized, as the concept of assertion, the relation between fictive and assertoric stances, and the role of meaning. Finally, some comments are made about Noël Carroll's theoretical enterprise in relation to the broader field of documentary film theory
Doutorado
Multimeios
Doutor em Multimeios

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Lelièvre, Samuel. "Image et sens dans l'herméneutique et la philosophie de l'art de Paul Ricoeur." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0078.

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Le projet philosophique de Ricoeur peut être défini comme celui d’une anthropologie philosophique. Dans ce cadre, un rôle central est accordé à l’imagination à partir des ressources de la phénoménologie, de l’herméneutique, et de la philosophie réflexive. La question de l’image demeure pourtant assez mal connue et a été peu explorée ; elle serait même dévalorisée dès lors qu’elle est ramenée au cadre d’une imagination reproductrice, par opposition à l’imagination vive de l’anthropologie ricoeurienne, et en raison de l’insistance sur le rapport langagier au sens. Or, plutôt qu’une opposition entre le plan de l’image et celui du sens, c’est bien une articulation de ces deux plans qui doit être considérée. La question du symbolisme ouverte par Ricoeur depuis sa Philosophie de la volonté sert de point de départ à notre investigation. De cette première herméneutique jusqu’à La mémoire, l’histoire, l’oubli, en passant par De l’interprétation. Essai sur Freud, La Métaphore vive, et Temps et récit, on peut également dire que l’image donne à penser. La question du symbolisme ne peut toutefois être séparée de celle de l’imagination. Il est ainsi nécessaire de relier deux cheminements de la philosophie ricoeurienne à partir de la question du symbolisme, l’un qui s’oriente dans la voie d’une herméneutique – le parcours jusqu’au positionnement fixé par Du texte à l’action –, l’autre qui relie le projet d’une anthropologie philosophique aux champs de l’art et de l’esthétique. Dès lors, notre recherche s’organise autour de quatre parties. Une première partie se concentre sur l’articulation entre la philosophie ricoeurienne de l’imagination et l’esthétique philosophique en abordant la perspective herméneutique comme la condition d’effectivité de cette articulation. Prolongeant cette orientation herméneutique, une deuxième partie cherche à établir un lien entre la conception ricoeurienne d’une herméneutique critique et la question de l’image. Parallèlement au cadre d’une herméneutique critique, une troisième partie s’attache à définir l’imagination comme le lieu d’une médiation entre le plan de l’art et celui de l’expérience en revenant sur la lecture ricoeurienne de la philosophie analytique et plus spécifiquement de la philosophie analytique de l’art. Prenant appui sur les précédentes parties, une quatrième partie considère finalement le champ du cinéma, en articulant des plans ontologique, narratif, et social à une herméneutique philosophique
Ricoeur’s philosophical project can be broadly termed as a philosophical anthropology. Within this context, a main role is given to the issue of imagination through the resources of phenomenology, hermeneutics, and reflexive philosophy. The issue of picture, however, remains quite unknown and has not been much questioned; it might even be undermined by being reduced to the context of reproductive imagination as opposed to that of productive imagination within Ricoeur’s anthropology, and due to the emphasis on the linguistic relationship to sense or meaning. Yet, instead of opposing the plane of picture to the plane of sense or meaning, an articulated connection between those two planes should be sought. The issue of symbolism opened by Ricoeur in his Philosophie de la volonté provides the starting point for our investigation. From that early hermeneutics on to La mémoire, l’histoire, l’oubli, via De l’interprétation. Essai sur Freud, La Métaphore vive, and Temps et récit, one could also consider that picture makes us think. But the issue of symbolism cannot be distinguished from that of imagination. One also has to link two paths of Ricoeur’s philosophy through the issue of symbolism, one that is orientated in the path of hermeneutics – the progression to the standpoint set by Du texte à l’action –, another that links the project of a philosophical anthropology to the fields of art and aesthetics. The research is thus structured around four parts. A first part is focused on the articulated connection between Ricoeur’s philosophy of imagination and philosophical aesthetics by addressing the hermeneutical prospect as the condition for the effectiveness of this connection. Extending this hermeneutical stance, a second part seeks to establish a bond between Ricoeur’s notion of a critical hermeneutics and the issue of picture. A third part, concurrent with the context of a critical hermeneutics, aims to consider imagination as mediating the plane of art and the plane of experience by referring to Ricoeur’s reading of analytic philosophy and, more specifically, analytic philosophy of art. Relying on the previous parts, a fourth part finally addresses the field of film, articulating ontological, narrative, and social layers to a philosophical hermeneutics

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Ashton, Dyrk. "USING DELEUZE: THE CINEMA BOOKS, FILM STUDIES AND EFFECT." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1151342833.

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Watson, Ian T. "The Psychology of Theatre and Film: In Theory and Practice." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4202.

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This thesis utilizes theories and ideas from the field of psychology to inform intertextual and interdisciplinary readings that compare and contrast theatre and film texts. In Chapter One, I compare Carlos Fuentes' drama Orchids in the Moonlight to Nicolas Winding Refn's film Bronson in order to investigate the extent each oscillates between Carl Jung's notion of the collective unconscious and Gilles Deleuze and Félix Guattari's schizoanalytic paradigm. I found that while these vacillating aspects helped illuminate different perspectives of each text, Orchids in the Moonlight more closely represents the collective unconscious, while Bronson more robustly embodies schizoanalysis. In Chapter Two, I examine the magnitude to which the play and film version of Jean Cocteau's Orpheus illuminate his self-portrait. By analyzing the similarity and differences between how Cocteau depicts mirrors and the female personification of Death, I discovered the film version to more profoundly evoke and depict Cocteau's self-portrait. Finally, in Chapter Three, I discuss my process of writing a new play with film elements called Flooded—before providing a sample of the text, and later analyzing the advantages and disadvantages of the film contents in the play.

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Nordle, Ryan. "Ethics in Iran: Jacques Lacan and the Films of Abbas Kiarostami's "Koker Trilogy"." ScholarWorks @ UVM, 2019. https://scholarworks.uvm.edu/graddis/1067.

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In 1900, Sigmund Freud published The Interpretation of Dreams, establishing climacteric concepts for psychoanalysis and creating a structure upon which he built the theory and his career. 20 years later, he had entirely revised these concepts that solidified the foundation of psychoanalysis. In Beyond the Pleasure Principle (1920), Freud notably theorizes the ‘death drive’ for the first time, a radical but necessary break from the economics of the pleasure principle. Often, the death drive is taken to be the most important contribution of this essay, but I argue that the lasting message to be gleaned from Freud is what he concludes Beyond the Pleasure Principle with: “We must be ready, too, to abandon a path that we have followed for a time, if it seems to be leading to no good end. Only believers, who demand that science shall be a substitute for the catechism they have given up, will blame an investigator for developing or even transforming his views.” In this thesis, I argue that we can develop a necessary Ethic from this way that Freud approached the formation of his work. Drawing on the further developments from Jacques Lacan, I claim that one can take theory of the gaze as an ethical moment: the point at which one is faced with a disruption that they are tasked to carry out “to see where it will lead,” as Freud puts it. Further, I utilize this formation of the Ethic to read the films of Abbas Kiarostami’s “Koker trilogy” to highlight the points at which we can locate the characters, form, and content of these films as realizations of such ethical moments.

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Baumgartner, Holly Lynn. "Visualizing Levinas : Existence and existents through Mulholland Drive, Memento, and Vanilla Sky." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1112629403.

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Nilsson, Jakob. "The Untimely-Image : On Contours of the New in Political Film-Thinking." Doctoral thesis, Stockholms universitet, Institutionen för mediestudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-81428.

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This study creates and develops a concept called the untimely-image including two sub-concepts called contours of the new and the untimely-site. The untimely-image concerns the clearing for and the expression of figures of “potential” in thought in the form of moving-images. The aim of these concepts is to form a critical framework for evaluating and conceptualizing political film as expressive, not of the new itself but of its “untimely” contours. The untimely-image, and its many implications, is developed over the course of six chapters. Chapter 1 extensively defines “contours” and “new” as operative in this study, and also introduces a theme that runs through all the chapters: how to think the contours of the new in relation to the cult of the new in consumer culture and in relation to the larger mechanisms of advanced capitalism. Chapter 2 defines the parameters of the untimely-image as specifically regarding moving images, and continues the development of this concept. In Chapters 3 to 6, The Wire (David Simon, 2002-2008) serves the double function of complicating and giving specification to the elaboration of the untimely-image as well as a case in which the untimely-image is used as a critical framework. The Wire and the untimely-image relate in processes of juxtaposition, wherein they meet, cross over, separate, and reproblematize each other. An untimely-image is fully defined in relation to concrete political issues. The untimely-image is therefore advanced by articulating the components and characteristics that, independently of the concrete issue, remain in every case, as well as by putting the concept to work regarding two specific problems in The Wire: its expression of blackness and its mapping of advanced capitalism.

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Rybin, Steven M. "The Historical Thought of Film: Terrence Malick and Philosophical Cinema." View abstract, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3375107.

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Krohn, Johannes. "Karl-Anders Wollters filmsamling på filmarkivet i Grängesberg." Thesis, Uppsala University, Department of ALM, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-126264.

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The aim with this archive guide is to give a guide to Karl-Anders Wollter’s film collection at Grängesberg Film archive. Karl-Anders Wollter worked between 1962–1993 for the State Department and mainly outside Sweden. The film collection consists of 67 films regarding his work, holidays and family life. In his work as a diplomat Wollter visited a lot of different places around the world, but he also travelled and made some trips with hisfamily. The collection also consists of footage from state visits, installations, negotiations in conflicts and inter-national conferences with politicians. Altogether the film collection gives not only a good view of how the life as a diplomat might be, but also of the development of the society and footage over villages and minor villages both in Sweden and other countries. This archive guide could thus serve as a guide both to those who are interested in the life as a diplomat, politic – and civic life and for those who are interested in cities and minor village’s devel-opment over time. This archive guide can also serve as a guide for those who are looking for film footage for various documentaries.

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Dissertations / Theses on the topic 'Philosophy and film'

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