Relevant bibliographies by topics / Philosophy of Film and Film Studies

Contents

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

Academic literature on the topic 'Philosophy of Film and Film Studies'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Philosophy of Film and Film Studies"

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Turvey, Malcolm. "Mirror Neurons and Film Studies." Projections 14, no. 3 (December 1, 2020): 21–46. http://dx.doi.org/10.3167/proj.2020.140303.

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This article surveys some of the major criticisms of mirror neuron explanations of human behavior within neuroscience and philosophy of mind. It then shows how these criticisms pertain to the recent application of mirror neuron research to account for some of our responses to movies, particularly our empathic response to film characters and our putative simulation of anthropomorphic camera movements. It focuses especially on the “egocentric” conception of the film viewer that mirror neuron research appears to license. In doing so, it develops a position called “serious pessimism” about the potential contribution of neuroscience to the study of film and art by building upon the “moderate pessimism” recently proposed by philosopher David Davies. It also offers some methodological recommendations for how film scholars should engage with the sciences.
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Shrage, Laurie. "Feminist Film Aesthetics: A Contextual Approach." Hypatia 5, no. 2 (1990): 137–48. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00422.x.

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This paper considers some problems with text-centered psychoanalytic and semiotic approaches to film that have dominated feminist film criticism, and develops an alternative contextual approach. I claim that a contextual approach should explore the interaction of film texts with viewers' culturally formed sensibilities and should attempt to render visible the plurality of meaning in art. I argue that the latter approach will allow us to see the virtues of some classical Hollywood films that the former approach has overlooked, and I demonstrate this thesis with an analysis of the film Christopher Strong.,
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Barrowman, Kyle. "Morals of Encounter in Steve Jobs." Film and Philosophy 24 (2020): 134–55. http://dx.doi.org/10.5840/filmphil2020249.

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In this article, the author argues for the probative value of ordinary language philosophy for the discipline of film studies by way of an analysis of the conversational protocols discernible in the film Steve Jobs (2015). In particular, the author focuses on the work of J.L. Austin, specifically his theory of speech acts and his formulation of the performative utterance, and Stanley Cavell, specifically his extension of Austinian speech act theory and his formulation of the passionate utterance, and analyzes the interactions between the titular character and his daughter through this unique Austinian/Cavellian lens. In so doing, the author endeavors to encourage more scholars in the field of film-philosophy to explore the key concepts and arguments in ordinary language philosophy for use in analyzing films. Despite its having been virtually ignored by film scholars over the last half century, one of many regrettable effects of the Continental bias of film scholars generally and film-philosophers specifically, the author contends that ordinary language philosophy provides powerful tools for the analysis of dialogue and communication in film, with Steve Jobs serving as a particularly insightful test case of the broad utility of ordinary language philosophy for film studies.
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Radkiewicz, Małgorzata. "Sexuality, Feminism and Polish Cinema in Maria Kornatowska’s "Eros i film"." Panoptikum, no. 23 (August 24, 2020): 117–30. http://dx.doi.org/10.26881/pan.2020.23.09.

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The text addresses the issue of feminist film criticism in Poland in the 1980s, represented by the book by Maria Kornatowska Eros i film [Eros and Film, 1986]. In her analysis Kornatowska focused mostly on Polish cinema, examined through a feminist and psychoanalytic lens. As a film critic, she followed international cinematic offerings and the latest trends in film studies, which is why she decided to fill the gap in Polish writings on gender and sexuality in cinema, and share her knowledge and ideas on the relationship between Eros and Film. The purpose of the text on Kornatowska’s book was to present her individual interpretations of the approach of Polish and foreign filmmakers to the body, sexuality, gender identity, eroticism, the question of violence and death. Secondly, it was important to emphasize her skills and creative potential as a film critic who was able to use many diverse repositories of thought (including feminist theories, philosophy and anthropology) to create a multi-faceted lens, which she then uses to perform a subjective, critical analysis of selected films.
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Long, Cooper. "Small Talk and the Cinema: Conversation, Philosophy and the Case of Sullivan's Travels." Film-Philosophy 22, no. 1 (February 2018): 76–94. http://dx.doi.org/10.3366/film.2018.0063.

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This article seeks to bring small talk about cinema – the type of conversation that can begin with the question “Have you seen any good movies lately?” – into the analytical ambit of cinema and media studies. In order to do so, I argue that such conversation is relevant to the philosophical project of Stanley Cavell. Throughout his attempts to wed film analysis and philosophical reflection, including his seminal studies of Hollywood genres, Cavell has remained committed to the idea that philosophy is not a search for objective absolutes or momentous conclusions. This is a characteristic inconclusiveness that small talk shares. While small talk is often derided as unimportant on account of this very inconclusiveness, the work of Cavell provides a propitious framework for appreciating small talk's underacknowledged philosophical stakes and for reconsidering assumptions about the relative value of communicative practices. In order to better illustrate this relation between small talk and philosophy, this article cites the cinematic example of Sullivan's Travels (Preston Sturges, 1941), a film that not only dramatizes small talk but also, in its final moments, gives striking visual expression to small talk's constitutive non-achievement.
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Tumanov, Vladimir. "Philosophy of Mind and Body in Andrei Tarkovsky's Solaris." Film-Philosophy 20, no. 2-3 (October 2016): 357–75. http://dx.doi.org/10.3366/film.2016.0020.

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Andrei Tarkovsky's film Solaris (1972) is studied through the lens of philosophy of mind. The question of memory and personhood, as developed by John Locke and then expanded by Derek Parfit, is applied to the status of Hari – the copy of the protagonist's deceased wife. The key question addressed by this paper is on what basis Hari can (or should?) be considered human. Hari's personhood is further analyzed in the context of Cartesian dualism, the response to Descartes by reductionism and the rebuttal of reductionism by the functionalist theories of Hilary Putnam. Descartes' thoughts on animal suffering and the bête-machine are pitted against Hari's experience in Solaris. The key question is whether Hari can be reduced to her alien structure or should be considered in terms of her behavior. The moral implications of these questions are extended to human sociality, human emotional response and the role of the body in the human condition.
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Woodward, Ashley. "Dispositif, Matter, Affect, and the Real: Four Fundamental Concepts of Lyotard's Film-Philosophy." Film-Philosophy 23, no. 3 (October 2019): 303–23. http://dx.doi.org/10.3366/film.2019.0118.

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Jean-François Lyotard's work remains a largely untapped resource for film-philosophy. This article surveys four fundamental concepts which indicate the fecundity of this work for current studies and debates. While Lyotard was generally associated with the “theory” of the 1980s which privileged language, signs, and cultural representations, much of his work in fact resonates more strongly with the new materialisms and realisms currently taking centre stage. The concepts examined here indicate the relevance of Lyotard's work in four related contemporary contexts: the renewed interest in the dispositif, new materialism, the affective turn, and speculative realism. The concept of the dispositif (or apparatus) is being rehabilitated in the contemporary context because it shows a way beyond the limiting notion of mise en scène which has dominated approaches to film, and Lyotard's prevalent use of this concept feeds into this renewal. While matter is not an explicit theme in Lyotard's writings on film, it is nevertheless one at the heart of his aesthetics, and it may be extended for application to film. Affect was an important theme for Lyotard in many contexts, including his approaches to film, where it appears to subvert film's “seductive” (ideological) effects. Finally, the Real emerges as a central concept in Lyotard's last essay on cinema, where, perhaps surprisingly, it intimates something close to a speculative realist aesthetics. Each of the fundamental concepts of Lyotard's film-philosophy are introduced in the context of the current fields and debates to which they are relevant, and are discussed with filmic examples, including Michael Snow's La Région centrale (1971), Roberto Rossellini's Stromboli (Stromboli, terra di Dio, 1950), Francis Ford Coppola's Apocalypse Now (1979), and neo-realist cinema.
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Purdie, S. "Film Studies." Year's Work in Critical and Cultural Theory 3, no. 1 (January 1, 1993): 341–67. http://dx.doi.org/10.1093/ywcct/3.1.341.

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Rothman, William. "Cavell's Philosophy and What Film Studies Calls "Theory"." Film and Philosophy 2 (1995): 105–10. http://dx.doi.org/10.5840/filmphil199528.

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Ince, Kate. "Feminist Phenomenology and the Film World of Agnès Varda." Hypatia 28, no. 3 (2013): 602–17. http://dx.doi.org/10.1111/j.1527-2001.2012.01303.x.

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AbstractThrough a discussion of Agnès Varda's career from 1954 to 2008 that focuses particularly onLa Pointe Courte(1954),L'Opéra‐Mouffe(1958), The Gleaners and I(2000), andThe Beaches of Agnes(2008), this article considers the connections between Varda's filmmaking and her femaleness. It proposes that two aspects of Varda's cinema—her particularly perceptive portrayal of a set of geographical locations, and her visual and verbal emphasis on female embodiment—make a feminist existential‐phenomenological approach to her films particularly fruitful. Drawing both directly on the work of Maurice Merleau‐Ponty and on some recent film‐ and feminist‐theoretical texts that have employed his insights, it explores haptic imagery and feminist strategy inThe Gleaners and I, the materialization of space characterizing Varda's blurring of fiction and documentary, and the dialectical relationship of people with their environment often observed in her cinema. It concludes that both Varda's female protagonists and the director herself may be said to perform feminist phenomenology in her films, in their actions, movement, and relationship to space, and in the carnality of voice and vision with which Varda's own subjectivity is registered within her film‐texts.
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Dissertations / Theses on the topic "Philosophy of Film and Film Studies"

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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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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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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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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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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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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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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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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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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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Books on the topic "Philosophy of Film and Film Studies"

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The ways of film studies: Film theory & the interpretation of films. Delhi: Ajanta Publications, 1992.

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De-westernizing film studies. New York, NY: Routledge, 2012.

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Higbee, Will, and Saër Maty Bâ. De-westernizing film studies. New York, NY: Routledge, 2012.

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Arnheim for film and media studies. New York: Routledge, 2013.

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How a film theory got lost and other mysteries in cultural studies. Bloomington: Indiana University Press, 2001.

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Richard, David Evan. Film Phenomenology and Adaptation. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463722100.

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Film Phenomenology and Adaptation: Sensuous Elaboration argues that in order to make sense of film adaptation, we must first apprehend their sensual form. Across its chapters, this book brings the philosophy and research methodology of phenomenology into contact with adaptation studies, examining how vision, hearing, touch, and the structures of the embodied imagination and memory thicken and make tangible an adaptation’s source. In doing so, this book not only conceives adaptation as an intertextual layering of source material and adaptation, but also an intersubjective and textural experience that includes the materiality of the body.
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Institute, British Film, ed. Looks and frictions: Essays in cultural studies and film theory. Bloomington: Indiana University Press, 1994.

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Willemen, Paul. Looks and frictions: Essays in cultural studies and film theory. Bloomington: Indiana University Press, 1994.

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Film, art, new media: Museum without walls? Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2012.

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Between film, video, and the digital: Hybrid moving images in the post-media age. New York: Bloomsbury Academic, 2016.

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Book chapters on the topic "Philosophy of Film and Film Studies"

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Dynel, Marta. "When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative." In Perspectives in Pragmatics, Philosophy & Psychology, 205–52. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56696-8_12.

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AbstractThis article gives a comprehensive theoretical account of deception in multimodal film narrative in the light of the pragmatics of film discourse, the cognitive philosophy of film, multimodal analysis, studies of fictional narrative and – last but not least – the philosophy of lying and deception. Critically addressing the extant literature, a range or pertinent notions and issues are examined: multimodality, film narration and the status of the cinematic narrator, the pragmatics of film construction (notably, the characters’ communicative level and the one of the collective sender and the recipient), the fictional world and its truth, the recipient’s film engagement and make believing, as well as narrative unreliability. Previous accounts of deceptive films are revisited and three main types of film deception are proposed with regard to the two levels of communication on which it materialises, the characters’ level and the recipient’s level, as well as the intradiegetic and/or the extradiegetic narrator involved. This discussion is illustrated with multimodally transcribed examples of deception extracted from the American television seriesHouse.In the course of the analysis, attention is paid to how specific types of deception detailed in the philosophy of language (notably, lies, deceptive implicature, withholding information, covert ambiguity, and covert irrelevance) are deployed through multimodal means in the three types of film deception (extradiegetic deception, intradiegetic deception, and a combination of both when performed by both cinematic and intradiegetic narrators). Finally, inspired by the discussion of Hitchcock’s controversial lying flashback scene inStage Fright, as well as films relying on tacit intradiegetic, unreliable narrators (focalising characters) an attempt is made to answer the thorny question of when the extradiegetic (cinematic) narrator can perform lies (through mendacious multimodal assertions) addressed by the collective sender to the recipient, and not just only other forms of deception, as is commonly maintained.
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Lim, Michael Kho. "Film Distribution in Film Studies." In Philippine Cinema and the Cultural Economy of Distribution, 9–38. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-03608-9_2.

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Villarejo, Amy. "Introduction to film studies." In Film Studies, 1–26. 3rd ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429026843-1.

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Villarejo, Amy. "The language of film." In Film Studies, 27–57. 3rd ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429026843-2.

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Villarejo, Amy. "The reception of film." In Film Studies, 117–40. 3rd ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429026843-5.

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Villarejo, Amy. "The production and exhibition of film." In Film Studies, 87–116. 3rd ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429026843-4.

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Villarejo, Amy. "The future of film." In Film Studies, 141–60. 3rd ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429026843-6.

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Villarejo, Amy. "The history of film." In Film Studies, 58–86. 3rd ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429026843-3.

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Freeland, Cynthia. "Film theory." In A Companion to Feminist Philosophy, 353–60. Oxford, UK: Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405164498.ch35.

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Wald, Christina. "Analyzing Film." In English and American Studies, 353–58. Stuttgart: J.B. Metzler, 2012. http://dx.doi.org/10.1007/978-3-476-00406-2_27.

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Conference papers on the topic "Philosophy of Film and Film Studies"

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Erawati, Meri, I. Ketut Surajaya, and Linda Sunarti. "National Film (Indonesia) 1970-1990s: Sex in Film, Censorship in Film and Power in Film." In Proceedings of the 1st International Conference on Social Sciences and Interdisciplinary Studies (ICSSIS 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icssis-18.2019.70.

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Di, Zhang, Liu Xin, Wang Zhe, Wang Guodong, Ni Chenxiao, Wei Shengjie, Hu Benxue, and Wang Zhangli. "Evaluation on CAP1400 Passive Containment Cooling System Capability." In 2017 25th International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/icone25-67077.

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Abstract:
CAP1400 is the large advanced passive demonstration plant, which is one of the National Science and Technology Major Projects. CAP1400 is an innovative design and development based on AP1000 advanced design philosophy with passive safety features. While keeping the same safety level as AP1000, CAP1400 aims to improve plant economy by means of enlargement of reactor core, increase of unit power output and optimization of plant overall design. The CAP1400 nuclear power plant uses the passive containment cooling system (PCS) to remove heat from the containment after accidents when high mass and energy fluid is released from primary or secondary systems. On account of the more mass and energy release and the internal structures design changes of CAP1400, the operating parameters may exceed the range of AP600 and AP1000 containment tests. In order to further study the performance of the CAP1400 PCS system, a series of verification tests have been carried out in the National PWR Project. This paper describes the background of the test setup, the really focused issues of the experiment and the main test results. The experimental data from separate effect tests and large scaled test were analyzed and evaluated in depth. The performance of the PCS was studied, including water film coverage outside the containment shell, water film evaporation and heat transfer characteristics, air natural circulation and convection outside the containment vessel, convection and condensation of the air / steam mixture on the inner surface of the containment vessel, as well as the overall performance of PCS systems. The results show that the important correlations applied in CAP1400 containment pressure and temperature response analysis could predict the heat and mass transfer reasonably and the envelope factors used for safety analysis are conservative. Parameters affecting the containment pressure and temperature have been investigated, and the reasonability and conservation of containment thermal and hydraulic analysis code has been evaluated by comparing the calculated results with the measured results. The results show that containment analysis code could simulate the important heat transfer phenomena of the test containment well and predict the temperature and pressure response reasonably with some conservation. Containment pressure and temperature response analysis after typical design basis accident analysis have been preformed, and the results show that the CAP1400 PCS is sufficient to remove the heat from the containment which ensure the safety of the plant. All of the results provide firm basis for the development of CAP1400 and sufficient support for the safety review. This work also lays the foundation for the further development of relevant analytical tools and the development of advanced and passive technologies with higher power levels.
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Agabekov, Vladimir E., N. A. Ivanova, S. Shahab, I. Kulevskaya, and N. Ariko. "Film transflect polarizer." In Advanced Display Technologies:Basic Studies of Problems in Information Display (FLOWERS'2000), edited by Victor V. Belyaev and Igor N. Kompanets. SPIE, 2001. http://dx.doi.org/10.1117/12.431275.

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Keshvani, M. J., Malay Udeshi, Sadaf Jethva, J. S. Rathod, B. T. Savalia, D. Venkateshwarlu, V. Ganesan, P. S. Solanki, and D. G. Kuberkar. "Magnetotransport studies on GdBa2Cu3OZ superconducting film." In SOLID STATE PHYSICS: Proceedings of the 58th DAE Solid State Physics Symposium 2013. AIP Publishing LLC, 2014. http://dx.doi.org/10.1063/1.4873022.

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Rahman, Talat S., Chandana Gosh, Oleg Trushin, Abdelkader Kara, and Altaf Karim. "Atomistic studies of thin film growth." In Optical Science and Technology, the SPIE 49th Annual Meeting, edited by Akhlesh Lakhtakia and Sergey A. Maksimenko. SPIE, 2004. http://dx.doi.org/10.1117/12.560016.

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Miller, Ryan, and Edward Coy. "Studies in Optimizing the Film Flow Rate for Liquid Fuel Film Cooling." In 47th AIAA/ASME/SAE/ASEE Joint Propulsion Conference & Exhibit. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2011. http://dx.doi.org/10.2514/6.2011-5779.

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Sangeetha, B. G., C. M. Joseph, and K. Suresh. "Performance studies on Ge1Sb2Te4 thin film devices." In TENCON 2015 - 2015 IEEE Region 10 Conference. IEEE, 2015. http://dx.doi.org/10.1109/tencon.2015.7373039.

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Miao, Miao. "The Philosophy of Crime and Punishment and Existentialism in WoodymAllen s Film." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.190.

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Fan, Chuan, Jing Wang, and Xuejun Fan. "Experimental Studies of Film Cooling in Supersonic Combustors." In 21st AIAA International Space Planes and Hypersonics Technologies Conference. Reston, Virginia: American Institute of Aeronautics and Astronautics, 2017. http://dx.doi.org/10.2514/6.2017-2267.

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Rao, V. D. N., D. M. Kabat, D. Yeager, and B. Lizotte. "Engine Studies of Solid Film Lubricant Coated Pistons." In SAE International Congress and Exposition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 1997. http://dx.doi.org/10.4271/970009.

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Reports on the topic "Philosophy of Film and Film Studies"

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Shannon, Robert R. Center for Thin Film Studies. Fort Belvoir, VA: Defense Technical Information Center, October 1988. http://dx.doi.org/10.21236/ada202742.

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Buhrman, R. A. High Resolution Studies of Thin Film Interfaces. Fort Belvoir, VA: Defense Technical Information Center, February 1998. http://dx.doi.org/10.21236/ada337921.

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Buhrman, R. A. High Resolution Studies of Thin Film Interfaces. Fort Belvoir, VA: Defense Technical Information Center, March 1998. http://dx.doi.org/10.21236/ada338838.

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Ast, D. G. Defect studies in thin film III-V thin film semiconductors. Progress report, September 1986--May 1987. Office of Scientific and Technical Information (OSTI), May 1987. http://dx.doi.org/10.2172/82405.

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Irene, Eugene A. Silicon Oxidation Studies on Thin Film Silicon Oxidation Formation. Fort Belvoir, VA: Defense Technical Information Center, March 1989. http://dx.doi.org/10.21236/ada206835.

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Dr. Wayne Huebner and Dr. Harlan U. Anderson. ANODE, CATHODE AND THIN FILM STUDIES FOR LOW TEMPERATURE SOFC'S. Office of Scientific and Technical Information (OSTI), November 1999. http://dx.doi.org/10.2172/772380.

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Ludwig, Karl. Real-Time X-ray Studies of Surface and Thin Film Processes. Office of Scientific and Technical Information (OSTI), April 2016. http://dx.doi.org/10.2172/1248336.

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Scarpulla, Michael. SISGR: Defect Studies of CZTSSe & Related Thin Film Photovoltaic Materials. Office of Scientific and Technical Information (OSTI), March 2017. http://dx.doi.org/10.2172/1349086.

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Mamun, Md Abdullah. Thin film studies toward improving the performance of accelerator electron sources. Office of Scientific and Technical Information (OSTI), May 2016. http://dx.doi.org/10.2172/1411408.

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Nix, William D. Fundamental Studies of the Mechanical Behavior of Microelectronic Thin Film Materials. Fort Belvoir, VA: Defense Technical Information Center, December 1987. http://dx.doi.org/10.21236/ada190038.

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