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Journal articles 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

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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2

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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3

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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7

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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9

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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Josiah Mosely, Michael. "Another Look at Heideggerian Cinema: Cinematic Excess, Antonioni's Dead Time and the Film-Photographic Image as Copy." Film-Philosophy 22, no. 3 (October 2018): 364–83. http://dx.doi.org/10.3366/film.2018.0085.

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Within the loose group of studies that are sometimes labelled Heideggerian cinema – studies in which scholars consider film in conjunction with Heidegger's philosophy – little attention has been paid to Heidegger's actual view of cinema. This omission is not only odd (Heidegger's view of film would seem essential for a Heideggerian cinema) but it is also problematic. In the off-hand comments Heidegger directs towards film throughout his collected works he criticises the medium for its covering over of Being, a fact that makes engaging with film through Heidegger's thinking a questionable project. The present article aims to address this omission and to provide a conception of Heideggerian cinema that does not ignore, but answers, Heidegger's criticism. It argues that it is not the technological nature of cinema that is the source of Heidegger's hostility towards the medium but his conception of the film-photographic image as a transparent copy of the world. It is on this basis that cinema is denied the capacity to manifest Being and hence is subject to critique. I then argue that Thompson's notion of cinematic excess reveals that the film-photographic image need not be as transparent as Heidegger assumes and that a cinematic presentation of Being is possible. To explore this idea further the article considers the use of dead time by Michelangelo Antonioni, particularly in his film L'eclisse.

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de Cock de Rameyen, Jade. "Narrative Difference: Jacques Rancière, Gilles Deleuze and Uncle Boonmee Who Can Recall His Past Lives." Film-Philosophy 25, no. 2 (June 2021): 165–86. http://dx.doi.org/10.3366/film.2021.0167.

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How should critics approach narrative temporality in times of ecological disorder? Literary critics have attempted to bridge eco-criticism with narrative theory, shifting attention from narrative content to narrative form. Econarratology studies how narrative shapes our understanding of the environment. Yet, eco-critical interrogations of narrative form are lacking. Grounded in a homogeneous conception of time, narratology often relays a dichotomy between narrativity and “dysnarrativity”. This dichotomy fails to translate the variety of temporal processes in film. I shall highlight the problem underlying Jacques Rancière's critique of Deleuze's film-philosophy and its relevance for narrative theory. My discussion of this dispute is grounded in the examination of Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives (2010). Critics invariably base their analyses on Boonmee's remembrances and reduce narrative complexity to dysnarrative indeterminacy by accommodating non-human storylines into a human plot. I argue that Uncle Boonmee both confirms and bypasses the critique of linear narrative that is at heart of the Rancière-Deleuze discussion. In doing so, Weerasethakul's feature calls for a new paradigm – different, yet unlike the crystalline narrative, positively determined. By bringing the event to the fore, Deleuze offers another theoretical backdrop for event narratology, that in turn proves useful to econarratology.

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Slugan, Mario, and Enrico Terrone. "Introduction." Projections 14, no. 3 (December 1, 2020): v—vi. http://dx.doi.org/10.3167/proj.2020.140301.

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Since the 1970s with Stanley Cavell’s work, and later with contributions such as those by Noël Carroll, George Wilson, Gregory Currie, and Berys Gaut, film has become a respectable object of philosophizing among Anglo-Saxon philosophers. Still, when it comes to the relationship between film and philosophy, the focus is mostly on how philosophy can help better understand film with little or nothing on how film studies can contribute to philosophical aesthetics. This special issue is aimed at encouraging a more balanced interaction between analytic aesthetics and film studies.

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OLSZYNKO-GRYN, JESSE, and PATRICK ELLIS. "‘A machine for recreating life’: an introduction to reproduction on film." British Journal for the History of Science 50, no. 3 (September 2017): 383–409. http://dx.doi.org/10.1017/s0007087417000632.

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AbstractReproduction is one of the most persistently generative themes in the history of science and cinema. Cabbage fairies, clones and monstrous creations have fascinated filmmakers and audiences for more than a century. Today we have grown accustomed not only to the once controversial portrayals of sperm, eggs and embryos in biology and medicine, but also to the artificial wombs and dystopian futures of science fiction and fantasy. Yet, while scholars have examined key films and genres, especially in response to the recent cycle of Hollywood ‘mom coms’, the analytic potential of reproduction on film as a larger theme remains largely untapped. This introduction to a special issue aims to consolidate a disparate literature by exploring diverse strands of film studies that are rarely considered in the same frame. It traces the contours of a little-studied history, pauses to consider in greater detail a few particularly instructive examples, and underscores some promising lines of inquiry. Along the way, it introduces the six original articles that constituteReproduction on Film.

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15

Banko, Anja. "What does cinema think that nothing but it can think?" Maska 35, no. 200 (June 1, 2020): 68–77. http://dx.doi.org/10.1386/maska_00010_1.

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The article deals with questions of contemporary film theory by explaining and reflecting on the theses as proposed by the American film and literary critic Nico Baumbach in his work Cinema/Politics/Philosophy (Columbia University Press, 2018). Baumbach is able to analyse the questions of what status film has in relation to politics, philosophy and art in a contemporarily relevant way, approaching film studies through reading authors such as Rancire, Badiou and Agamben in dialogue with Althusser, Deleuze and Benjamin. The article focuses on the positioning and meaning of Baumbach’s thought in the contemporary field of film theory. We position the author’s thought as necessarily dependent on historical context and emphasise its potential for further contemplation, especially as regards the fruitful connection of the dominant branches of film theory that understand film in other ways than merely as the ‘seventh art’.

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PURDIE, S. "Film and Film Theory." Year's Work in Critical and Cultural Theory 8, no. 1 (January 1, 2001): 119–38. http://dx.doi.org/10.1093/ywcct/8.1.119.

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17

Derham, Ruth. "Bible Studies: Frank Russell and the "Book of Books"." Russell: the Journal of Bertrand Russell Studies 40 (August 6, 2020): 43–51. http://dx.doi.org/10.15173/russell.v40i1.4418.

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Religion was as much a concern for Frank Russell throughout his life as it was for younger brother Bertrand and their father before them. Each advocated its rational study untainted by Christian dogma. The chance discovery of an amusing film review by Frank Russell of the biblical epic The Dawn of the World (1921) became the catalyst for an exploration of this theme in the paper that follows, as well as providing the opportunity to explore the foundations of Frank’s agnosticism and demonstrate his erudition and wit through the reprinting of his article “The Bible on the Film”.

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Woessner, Martin. "What Is Heideggerian Cinema? Film, Philosophy, and Cultural Mobility." New German Critique 38, no. 2 (2011): 129–57. http://dx.doi.org/10.1215/0094033x-1221803.

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Rennebohm, Kate. "The “Cinema Remarks”: Wittgenstein on Moving-Image Media and the Ethics of Re-viewing." October 171 (March 2020): 47–76. http://dx.doi.org/10.1162/octo_a_00378.

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This essay uncovers and analyzes philosopher Ludwig Wittgenstein's little-known writings on film and related media, revealing their importance for film and media studies, the field of film philosophy, and for understanding Wittgenstein's later ethical thought. Through an explication of Wittgenstein's idiosyncratic ordinary-language philosophy, the author argues that these cinema remarks speak to Wittgenstein's sense that cinematic media offered new conceptualizations for thought on a variety of subjects. These include the nature of time, visual and phenomenological experience, and subjectivity. The remarks make clear, among other discoveries, that Wittgenstein was thinking about the relation of cinema and “the skeptical mindset” decades before Stanley Cavell made his influential arguments for such a connection. While the first half of the essay draws out the ethical stakes behind Wittgenstein's film remarks, the latter half turns explicitly to the philosopher's later, complex thought about ethics itself. Showing the importance of aesthetics, visuality, and sight to Wittgenstein's understanding of the field, this section addresses his notions of “aspect-seeing” and “aspect-change.” From this, the final section of contends that Wittgenstein's ethics want to work in the way he feels film can—by enabling one to “see anew” one's way of seeing as a way of seeing, thus opening new ethical-existential possibilities for one's way of being in the world.

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Sever Globan, Irena, and Josip Bošnjaković. "Film kao ljekovita metafora u logoterapijskoj praksi." Nova prisutnost XIV, no. 2 (July 11, 2016): 219–36. http://dx.doi.org/10.31192/np.14.2.6.

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Kako bi pomogao sebi ili drugome i poboljšao kvalitetu života, čovjek se koristi raznim tehnikama i sredstvima. U ovom članku polazi se od pretpostavke da su priče i vizualne metafore ljekovita sredstva za dušu ukoliko su iskrene, poticajne, utješne, nadahnjujuće, te na taj način mogu pomoći čovjeku u prevladavanju raznih psihičkih i egzistencijalnih tegoba. Posebni se naglasak stavlja na ljekovitost filmskih priča i filmoterapiju koja se sve češće koristi kao pomoćna tehnika u raznim psihoterapijskim pravcima, a nastavak je prakse biblioterapije koja se koristi i unutar logoterapije. Ta grana psihoterapije, koju je utemeljio Viktor Frankl, pokušava dati odgovor na pitanje egzistencijalne praznine koja sve češće tišti suvremenog čovjeka, a koja nastaje zbog nemogućnosti otkrivanja smisla. U članku se pokušava odgovoriti na pitanje kako filmske priče, koje se i same često vrte oko egzistencijalnih pitanja smisla (tko sam, odakle dolazim i kamo idem), mogu biti ljekovite ljudima koji se bore s pitanjem osmišljavanja vlastitog života te problemima patnje, slobode i odgovornosti, te koje filmove preporučiti klijentima u logoterapijskoj praksi (ali i ostalim psihoterapijskim pravcima).

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Wooddell, Joseph D. "Reel Spirituality: Theology and Film in Dialogue." Philosophia Christi 5, no. 2 (2003): 667–69. http://dx.doi.org/10.5840/pc20035277.

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Sheen, Erica. "101 and Counting: Dalmatians in Film and Advertising." Worldviews: Global Religions, Culture, and Ecology 9, no. 2 (2005): 236–54. http://dx.doi.org/10.1163/1568535054615385.

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AbstractIn both academic and animal welfare circles, Disney's live action films 101 and 102 Dalmatians have been criticised as a commercial exploitation of the breed. From this perspective, it was widely held that the Dalmatian has been subject to over-breeding and abandonment as a direct result of these films, and that Disney should be held responsible for this abuse. I question these assumptions. I discuss the Hollywood animal image as a form of intellectual property and provide a detailed account of negotiations between Disney and Dalmatian breed associations in America and the UK. In response to critics who described the films as "an advertisement for the breed", I suggest that Disney's animal imagery should be seen as a more complex cultural and economic negotiation between filmmaker and audience, and conclude that our understanding of the commercial deployment of the Dalmatian image must be situated in a more nuanced account of the relationship between advertising and film.

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23

Hall, Tim. "Book Review: City Images: Perspectives from Literature, Philosophy and Film." Urban Studies 31, no. 2 (March 1994): 335–36. http://dx.doi.org/10.1080/00420989420080301.

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Rugo, Daniele. "The Patience of Film." Angelaki 20, no. 4 (October 2, 2015): 23–35. http://dx.doi.org/10.1080/0969725x.2015.1096628.

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Hezser, Catherine. "The Routledge companion to religion and film." Culture and Religion 11, no. 3 (September 2010): 305–7. http://dx.doi.org/10.1080/14755610.2010.505746.

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Morey, Anne. "Film Studies: Women in Contemporary Cinema (review)." South Central Review 21, no. 3 (2004): 178–80. http://dx.doi.org/10.1353/scr.2004.0045.

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Reader, K. "Scenes of Love and Murder: Renoir, Film and Philosophy." French Studies 63, no. 4 (October 1, 2009): 494–95. http://dx.doi.org/10.1093/fs/knp126.

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Bedenko, Vladimir Nikolaevich. "Parody film as a postmodernist deconstruction in cinematography." Человек и культура, no. 2 (February 2021): 82–100. http://dx.doi.org/10.25136/2409-8744.2021.2.34754.

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Lately, the research of Parody film as a part of film discourse have reached its peak in the history and philosophy of science. The polycode essence of the concept of film discourse prompts changes and modifications in the interpretation of Parody film. Therefore, the subject of this analysis is Parody film. The goal of this research consists in examination of the peculiarities, meaning, and role of the concept of “parody film”, which is a creative work intended to ridicule the plot through satirical or ironic imitation. Research methodology is based on the method of analytical study of sources for clarification of the logic and content of the concepts of “parody”, “parody film”, and “film discourse”, as well for revealing the essence of parody film as a postmodernist deconstruction in cinematography. The article also employs the methods of comparative analysis and the concept of local cultures. The scientific novelty of this research consists in systematization of the existing knowledge on parody film in the light of film discourse, which being the phenomenon at the intersection of multiple disciplines is in the epicenter of scientific inquiries in linguistics, literary studies, sociolinguistics, philosophy of semiotics and film semiotics, critical discourse analysis, and theory of cinematography. The theoretical importance lies in characterization of the concepts of “parody”, “parody film”, “comedy”, “comedy film” in the context of modern knowledge of moviemaking and cinematography. The acquired results give a better perspective on the role of parody film in art and life of the society. The Interpreters fight for cinema, on the one hand adoring it as the art with unlimited capabilities, while on the other – neglecting the fact that it should need the unpretentious demands of the audience. The author claims that in a broad context, the parody film of the XXI century is not aimed at parodying a literary text. The filmmakers rather consider and use parody film as a means for drawing attention of various life circumstances.

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Thomas, Calvin. "“It's no longer your Film”." Angelaki 11, no. 2 (August 2006): 81–98. http://dx.doi.org/10.1080/09697250601029234.

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Puri Kurniasih and Bambang Sunarto. "Verstehen, Analytic, and Logic in “Blindfold” Film by Garin Nugroho." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 2 (April 6, 2020): 96–105. http://dx.doi.org/10.33153/iicacs.v2i1.22.

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The film is one form of propaganda. The focus of this research is “Blindfold” Film by Garin Nugroho. This film aimed as anti-violent and anti-radicalism propaganda. The film tells about the radicals who indoctrinate to form a new country. There are three characters with different backgrounds that provide a variety of stories, but apparently with the same goal, which is to find a way out. This study aims to describe the problems raised in this film in the philosophy of language paradigm. This study uses a qualitative approach with three methods: verstehen, language analytics, and logic. The verstehen method serves as a tool to readily understand radical concepts as alternative characters; jihad, in this case, becomes possible as a solution. The concept of hijrah analytically does not qualify as a hijrah. Logically, the reason for the formation of NII and the concept of Ulil Amri showed a thought fallacy. Thus, the results of studies on radicalism in this film illustrate empty hopes.

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PURDIE, S. "Film Theory." Year's Work in Critical and Cultural Theory 5, no. 1 (January 1, 1995): 231–46. http://dx.doi.org/10.1093/ywcct/5.1.231.

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PURDE, S. "Film Theory." Year's Work in Critical and Cultural Theory 6, no. 1 (January 1, 1996): 190–215. http://dx.doi.org/10.1093/ywcct/6.1.190.

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PURDIE, S. "Film Theory." Year's Work in Critical and Cultural Theory 7, no. 1 (January 1, 1997): 199–217. http://dx.doi.org/10.1093/ywcct/7.1.199.

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Green, James W. "Film Review: Precious lives, meaningful choices." Mortality 13, no. 4 (October 10, 2008): 372–73. http://dx.doi.org/10.1080/13576270802164364.

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Koch, Gertrud. "A curious realism: redeeming Kracauer’s film theory through Whitehead’s process philosophy." Screen 61, no. 2 (2020): 280–87. http://dx.doi.org/10.1093/screen/hjaa024.

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Mayward, Joel. "The Fantastic of the Everyday: Re-Forming Definitions of Cinematic Parables with Paul Ricoeur." Horizons 47, no. 2 (December 2020): 283–314. http://dx.doi.org/10.1017/hor.2020.104.

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Recent publications on theology and film attempting to explain what a parable is remain less clear about how or why a parable works for cinema, and many definitions do not fully take into account the formal dynamics of film qua film nor parable qua parable. I seek to demonstrate the benefits of a more precise conception of cinematic parables by utilizing philosopher Paul Ricoeur's understanding of “parable” to make theological interpretations of film that take audio-visual aesthetics into consideration. I conclude with three recent examples of cinematic parables in order to demonstrate this Ricoeurian parabolic hermeneutic: Asghar Farhadi's Iranian melodrama, A Separation (2011), American filmmaker Anna Rose Holmer's enigmatic The Fits (2016), and Aki Kaurismäki's droll Finnish comedy, The Other Side of Hope (2017). Ultimately, I make a case for film as theology, what I am calling “theocinematics.”

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Chowdhury, Elora Halim. "When Love and Violence Meet: Women's Agency and Transformative Politics in Rubaiyat Hossain's Meherjaan." Hypatia 30, no. 4 (2015): 760–77. http://dx.doi.org/10.1111/hypa.12178.

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In official and unofficial histories, and in cultural memorializations of the 1971 war for Bangladeshi independence, the treatment of women's experiences—more specifically the unresolved question of acknowledgment of and accountability to birangonas, “war heroines” (or rape survivors)—has met with stunning silence or erasure, on the one hand, or with narratives of abject victimhood, on the other. By contrast, the film Meherjaan (2011) revolves around the stories of four women during and after the war, and most centrally the relationship between a Bengali woman and a Pakistani soldier. In this article, I investigate the anxieties underlying the responses to Meherjaan, particularly in association with themes of trauma—its absence or omnipresence—to nonnormative gender frames of national sexuality, and the notion of loving the Other. Drawing from feminist theories of vulnerability, ethics, and love, I want to explore these themes at two levels: the political message the film transmits, and its aesthetic choices and affects. Finally, I want to comment on the potential of this film, as feminist art, in furthering a dialogue around healing and ethical memorialization in relation to 1971 in Bangladesh.

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Stewart, Michelle. "Film Cultures Reader (review)." Cultural Critique 56, no. 1 (2004): 219–22. http://dx.doi.org/10.1353/cul.2003.0064.

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Hainge, Greg. "To Have Done With the Perspective of the (Biological) Body: Gaspar Noé’s Enter the Void, Somatic Film Theory and the Biocinematic Imaginary." Somatechnics 2, no. 2 (September 2012): 305–24. http://dx.doi.org/10.3366/soma.2012.0063.

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In this paper, I examine the ways in which the relationship between spectator and screen has been figured in a body of recent scholarship on the cinema that both corporealises the cinematic event by focusing on the body of the spectator and the body of the film whilst, simultaneously, decorporealising it by seeing in the relation between spectator and screen the means to produce a new kind of properly cinematic thought, a new form of philosophy that can only be born out of this relation. Taking as paradigmatic examples of the different ways in which this relationship has been figured in recent film scholarship, I examine the works of Sobchack and Shaviro as examplars of the somatic turn in film studies, before going on to examine Deleuze's philosophy of the cinema. In the final section of the paper, I suggest, through an analysis of Gaspar Noé’s Enter the Void, that, firstly, the potential pitfalls of somatic film theory and Deleuze's philosophy of the cinema as a tool for filmic analysis can be avoided. I then go on to argue that these different approaches do not need to be held apart from each other and that Deleuze's formulations can usefully inform a somatic film theory if we reconfigure the way we think about the cinematic body, moving from a biological understanding of it to an anatomical one. This discussion of the anatomical body is fleshed out in particular via an in-depth examination of the work of Waldby on the Visible Human Project and I conclude by suggesting that the cinematic spectator can be re-imagined or reanimated as a synthetic product of techno-bio-cultural and cinematic processes.

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Hersch, Matthew H. "The Philosophy of Science Fiction Film by Steven M. Sanders, Ed." Journal of American Culture 31, no. 3 (September 2008): 342–43. http://dx.doi.org/10.1111/j.1542-734x.2008.00681_28.x.

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Dawkins, R. "18 * Film Theory." Year's Work in Critical and Cultural Theory 14, no. 1 (July 5, 2006): 311–35. http://dx.doi.org/10.1093/ywcct/mbl018.

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Trahair, L. "9 * Film Theory." Year's Work in Critical and Cultural Theory 15, no. 1 (May 27, 2007): 165–85. http://dx.doi.org/10.1093/ywcct/mbm018.

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During, L., and L. Trahair. "6 * Film Theory." Year's Work in Critical and Cultural Theory 16, no. 1 (June 18, 2008): 166–95. http://dx.doi.org/10.1093/ywcct/mbn009.

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During, L. "3 * Film Theory." Year's Work in Critical and Cultural Theory 17, no. 1 (January 1, 2009): 87–124. http://dx.doi.org/10.1093/ywcct/mbp001.

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During, L., and D. Levitt. "9 * Film Theory." Year's Work in Critical and Cultural Theory 18, no. 1 (January 1, 2010): 184–220. http://dx.doi.org/10.1093/ywcct/mbq011.

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During, L., and D. Levitt. "12 * Film Theory." Year's Work in Critical and Cultural Theory 19, no. 1 (January 1, 2011): 250–85. http://dx.doi.org/10.1093/ywcct/mbr012.

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Rushton, R. "14 * Film Theory." Year's Work in Critical and Cultural Theory 21, no. 1 (January 1, 2013): 274–90. http://dx.doi.org/10.1093/ywcct/mbt013.

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Rushton, R. "4 * Film Theory." Year's Work in Critical and Cultural Theory 22, no. 1 (January 1, 2014): 64–82. http://dx.doi.org/10.1093/ywcct/mbu005.

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Zacks, Jeffrey M., Trevor Ponech, Jane Stadler, and Malcolm Turvey. "Book Reviews." Projections 15, no. 2 (June 1, 2021): 116–35. http://dx.doi.org/10.3167/proj.2021.150205.

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Gallese, Vittorio, and Michele Guerra. The Empathic Screen: Cinema and Neuroscience. Trans. Frances Anderson. Oxford: Oxford University Press, 2019, 272 pp., $45.00, ISBN: 9780198793533.Rawls, Christina, Diana Neiva, and Steven S. Gouveia, eds. Philosophy and Film: Bridging Divides. New York: Routledge, 2019, 389 pp., $160 (hardback), ISBN: 978-1-138-35169-1.Moss-Wellington, Wyatt. Narrative Humanism: Kindness and Complexity in Fiction and Film. Edinburgh: Edinburgh University Press, 2019, 256 pp., $29.95 (paperback), ISBN: 9781474454322.Perez, Gilberto. The Eloquent Screen. Minneapolis: University of Minnesota Press, 2019, 448 pp., $29.95, ISBN: 978-0-8166-4133-8.

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Batcho, James. "Simultaneity and Coexistence: Audible Overlaps in Cinematic Time." Deleuze and Guattari Studies 15, no. 1 (February 2021): 65–90. http://dx.doi.org/10.3366/dlgs.2021.0429.

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This article builds upon concepts of simultaneity and coexistence offered by Bergson and Deleuze to explore new approaches to cinematic audibility. Recognised film theory terms such as synchronisation and synchresis approach sonic time from the transcendent distance of audioviewership. This essay moves cinematic experience inward to ask what is audible within the film world itself. Simultaneity and coexistence penetrate cinematic time to express a multiplicity of audible layers, threads or lines that occur in relation to image-events. The essay both advances and critiques Bergson's and Deleuze's conceptions of time, making it relevant to both film studies and metaphysics.

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