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

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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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7

Institute, British Film, ed. Looks and frictions: Essays in cultural studies and film theory. Bloomington: Indiana University Press, 1994.

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8

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

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9

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

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10

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

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11

Image studies: A practical approach. New York: Routledge, 2012.

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12

The search for meaning in film and television: Disenchantment at the turn of the millennium. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2015.

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13

Walton, Saige. Cinema's Baroque Flesh. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089649515.

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In Cinema's Baroque Flesh, Saige Walton draws on the philosophy of Maurice Merleau-Ponty to argue for a distinct aesthetic category of film and a unique cinema of the senses: baroque cinema. Combining media archaeological work with art history, phenomenology, and film studies, the book offers close analyses of a range of historic baroque artworks and films, including Caché, Strange Days, the films of Buster Keaton, and many more. Walton pursues previously unexplored connections between film, the baroque, and the body, opening up new avenues of embodied film theory that can make room for structure, signification, and thought, as well as the aesthetics of sensation.

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14

Film studies. Chicago: McGraw-Hill, 2004.

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15

Lusted, David. Film studies. London: British Film Year, 1985.

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16

Film studies. Lincolnwood, Ill: NTC/Contemporary Pub., 1998.

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17

Philosophy, Black film, film noir. University Park, Pa: Pennsylvania State University Press, 2008.

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18

K, Gopinathan, ed. Film & philosophy. [Calicut]: University of Calicut, 2003.

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19

Ludwig, Nagl, Waniek Eva, and Mayr Brigitte 1958-, eds. Film Denken =: Thinking film. Wien: Synema, 2004.

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20

Martin, Adrian. Mysteries of Cinema. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462986831.

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The major essays of the distinguished and prolific Australian-born film critic Adrian Martin have long been difficult to access, so this anthology, which collects highlights of his work in one volume, will be welcomed throughout film studies. Martin offers indepth analysis of many genres of films while providing a broad understanding of the history of cinema and the history of film criticism and culture. These vibrant, highly personal essays, written between 1982 and 2016, balance breadth across cinema theory with almost encyclopedic detail, ranging between aesthetics, cinephilia, film genre, criticism, philosophy, and cultural politics. Mysteries of Cinema circumscribes a special cultural period that began with the dream of critique as a form of poetic writing, and today arrives at collaborative experiments in audiovisual essays. Throughout these essays, Martin pursues a particular vision of what cinema has been, what it is, and what it still could be.

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21

1970-, Wasson Haidee, ed. Inventing film studies. Durham: Duke University Press, 2008.

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22

Feminist film studies. Abingdon, Oxon, [England]: Routledge, 2012.

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23

I film studies. Roma: Carocci, 2013.

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24

Boukary, Sawadogo. African Film Studies. Abingdon, Oxon; New York, NY: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9780429508066.

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25

Beginning film studies. Manchester, UK: Manchester University Press, 2008.

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26

Philosophy through film. 2nd ed. New York: Routledge, 2010.

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27

Frederick, Porter Burton, ed. Philosophy through film. 2nd ed. Cornwall-on-Hudson, NY: Sloan, 2009.

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28

Litch, Mary M. Philosophy through film. 2nd ed. London: Routledge, 2009.

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29

Philosophy through film. New York: Routledge, 2002.

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30

Read, Rupert, and Jerry Goodenough, eds. Film as Philosophy. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230524262.

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31

1947-, Grant Barry Keith, and Hillier Jim, eds. The film studies dictionary. London: Arnold, 2001.

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32

Introduction to film studies. 5th ed. Oxon: Routledge, 2012.

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33

The Soul of Film Theory. Palgrave Macmillan, 2013.

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34

Charney, Leo. Just beginnings: Film studies, close analysis, and the viewer's experience. 1992.

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35

Davis, Therese. Face on the Screen: Questions of Death, Recognition and Public Memory (Film Studies Intellect). Intellect Ltd, 2003.

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36

Rascaroli, Laura. How the Essay Film Thinks. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.001.0001.

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Less than a decade ago the expression "essay film" was still encountered only sporadically; today, the term has been widely integrated into film criticism, and is increasingly adopted by filmmakers and artists worldwide to characterize their work-while continuing to offer a precious margin of resistance to closed definitions. Eschewing essentialist notions of genre and form, and bringing issues of practice and praxis to the fore, this book offers a novel understanding of the epistemological strategies that are mobilized by the essay film, and of where such strategies operate. On the backdrop of Theodor W. Adorno’s discussion of the essay form’s anachronistic, anti-systematic and disjunctive mode of resistance, and capitalizing on the centrality of the interstice in Gilles Deleuze’s understanding of the cinema as image of thought, the book discusses the essay film as future philosophy-as a contrarian, political cinema whose argumentation engages with us in a space beyond the verbal. A diverse range of case studies discloses how the essay can be a medium of thought on the basis of its dialectic use of audiovisual interstitiality. The book shows how the essay film’s disjunctive method comes to be realized at the level of medium, montage, genre, temporality, sound, narration, and framing-all of these emerging as interstitial spaces of intelligence that illustrate how essayistic meaning can be sustained, often in contexts of political, historical or cultural extremity. The essayistic urge is not to be identified with a fixed generic form, but is rather situated within processes of filmic thinking that thrive in gaps.

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37

Frey, Mattias, and Jinhee Choi. Cine-Ethics: Ethical Dimensions of Film Theory, Practice, and Spectatorship. Taylor & Francis Group, 2016.

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38

Cine-Ethics: Ethical Dimensions of Film Theory, Practice and Spectatorship. Taylor & Francis Group, 2013.

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39

Cahiers du Cinéma; The 1950s: Neo-Realism, Hollywood, New Wave (Harvard Film Studies). Harvard University Press, 1985.

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40

Hillier, Jim. Cahiers du Cinéma; The 1950s: Neo-Realism, Hollywood, New Wave (Harvard Film Studies). Harvard University Press, 1985.

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41

Hanaway-Oakley, Cleo. Modern Thought and the Phenomenology of Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.003.0003.

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This chapter situates Merleau-Ponty’s phenomenology of film in its historical context through analysing its key insights—the reciprocal and embodied nature of film spectatorship—in the light of late-nineteenth and early-twentieth century philosophy and psychology, charting Merleau-Ponty’s indebtedness to thinkers as diverse as Henri Bergson, Max Wertheimer, Hugo Münsterberg, Rudolf Arnheim, Victor Freeburg, Sergei Eisenstein, and Siegfried Kracauer. The historical Bergson is differentiated from the Deleuzian Bergson we ordinarily encounter in film studies, and Merleau-Ponty’s fondness for gestalt models of perception is outlined with reference to the competing ‘persistence of vision’ theory of film viewing. The chapter ends with a consideration of some of the ways in which James Joyce could have encountered early phenomenology, through the work of the aforementioned philosophers and psychologists and the ideas of Gabriel Marcel, Franz Brentano, William James, and Edmund Husserl.

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42

Kim, Jihoon. Between Film, Video, and the Digital: Hybrid Moving Images in the Post-Media Age. Bloomsbury Publishing Plc, 2018.

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43

Villarejo, Amy. Film Studies: The Basics (Film Studies). Routledge, 2006.

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44

Film Studies. Annick Press, 2010.

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45

Film Studies. Teach Yourself Books, 1998.

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46

Grant, Michael, Ian Christie, and Smith Murray. Film Studies. Manchester University Press, 2006.

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47

Grant, Michael, Ian Christie, and Smith Murray. Film Studies. Manchester University Press, 2006.

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48

Film studies. New York: M. Wiener Pub., 1988.

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49

Davis, Glyn. Film Studies. Routledge, 2015. http://dx.doi.org/10.4324/9781315754192.

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50

Film Studies. Pocket Essentials, 2003.

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