Neste texto me aproximo de táticasde travessia do Mundo Ordenadopara o Mundo Implicado atravésda imagem cinematográfica, es-pecificamente das que emergemno contexto dos cinemas negrosno Brasil contemporâneo. Partin-do da filosofia de Denise Ferreirada Silva, aproximo-me das possi-bilidades de destruição do mundocomo o conhecemos e dos seuscárceres estéticos e analíticos,a exemplo dos engendrados porJoão Carlos Rodrigues no livro ONegro Brasileiro e o Cinema. Porfim, volto-me às imagens de Tra-vessia, filme de Safira Moreira,pensando como ele executa ges-tos de imageação de um Mundo (...) ede um Cinema Implicado. (shrink)

The Deleuzian studies on cinema highlight the importance of two semiotic regimes (movement-image and time-image) for the understanding of our aesthetical and epistemological relationship with moving images. On the contrary, this article highlights the moments of crisis between the two regimes, pointing out the generic character of uncertainty and ambiguity in the nature of mental images: once the sensorimotor scheme that dominates the cinematographic montage has been weakened, the characters, unable to act, can imagine, desire, dream, hallucinate, and remember. (...) New types of images appear: recollectionimages, dream-images, and world-images. How do these new types of images make us rethink our usual relationship with the world and with reality? With this article on cinema’s virtual and oneiric dimension, I expect to disseminate one of Gilles Deleuze’s greatest contributions to film philosophy: the distinction between the imaginary and reality. (shrink)

Lorsque, dans le film de Max Ophüls Letter from an Unknown Woman , l’homme arrive aux derniers mots de la lettre que lui a adressée la femme inconnue, on nous le montre – selon des techniques éprouvées et bien connues de montage rapide – agressé par une suite..

I offer a new Heideggerian reading of Terrence Malick’s 2005 film, The New World, in the style of film-philosophy, alongside a contrasting Cinematic Humanist encounter. I consider if the former is a theory-involving example of philosophy of film, and whether a positive answer to this question entails the latter must be also. I argue that whilst both engagements with the film use the work of other philosophers as part of their appreciation, Cinematic Humanism nonetheless remains one of many possible ways (...) of doing philosophy of film without theory. Having compared these two methods, I suggest reasons why there is nonetheless a potentially valuable relation to be had between philosophy of film with and philosophy of film without theory. Close attention is paid to the film throughout. (shrink)

Introduction -- Time and matter: temporality, embodied subjectivity and film phenomenology -- Knowing and nothing: Chris Marker, subjective temporalities and vocalic bodies in the future tense -- Agnès Varda's Trinket box: subjective relationality, affect and temporalised space -- Burlesque gestures and bodily attention: phenomenologies of the ephemeral in Chantal Akerman -- Threatened corporealities: thinking with the films of Philippe Grandrieux -- Conclusion: rethinking cinematic subjectivity and beyond.

La entrevista tiene por objetivo problematizar los vínculos del cine y la educación en la escuela, afirmando y defendiéndola en su precariedad, como una alternativa contundente de espacio-tiempo de concentración y atención al mundo y como pausa voluntaria de la hiperconectividad que nos hace perder el sueño y las posibilidades de soñar otro mundo, como gesto de alteración e invención.

This is the second of two articles investigating the filmic representations of Jesus and the Christ-event. The first article investigated the theological and esthetic issues raised by the major works in the one hundred years' tradition of the Jesus film. The present study takes into consideration the films which approach the Jesus story and the Christ-event metaphorically, the so-called Christ-figure films. It begins with a discussion of the biblical-theological foundations for such a metaphorical representation, and then it analyses a series (...) of films which can be interpreted as adopting this approach. Jesus of Montreal is analysed as a transitional film which represents both literal and metaphorical images of Jesus, privileging, however, the metaphorical approach. The classical American western Shane is seen as shifting its content and themes away from the typical «mythical » western in order to better accommodate the Jesus and Christ themes. The filmic embodiment of the Jesus story and Christ-event in women Christ-figures is examined in two films, Babette's Feast and Bagdad Café . Then the longer original version of one of Kieslowski's Decalogue films, A Short Film about Love, is interpreted as an extended metaphor of the salvific encounter between Jesus and Mary Magdalene. Finally, Bresson's masterpiece, Au hasard Balthazar, is considered as creating in its protagonist, the donkey Balthazar, the most audacious and theologically profound Christ-figure i. (shrink)

Some people live to work, others work to live, while still others prefer to live lives of leisure. Since the Puritans, American culture and literature have been dominated by individuals who have valued hard work. However, shortly after its founding, America managed to produce the leisurely Rip Van Winkle, who, over time, has been followed by kindred spirits such as, for instance, Walt Whitman, Henry David Thoreau, Twain’s Huck Finn, Melville’s Bartleby, Jack Kerouac, Diane di Prima, the Hippies, and Christopher (...) McCandless. With the rise of the Indie Film movement of the 1990s, so came the rise of the slacker film. Films such as Slacker, Singles, Wayne’s World, Reality Bites, Clerks, Kicking and Screaming, Mallrats, Chasing Amy, The Big Lebowski, and Office Space filled theatres over the decade with characters who take an unorthodox view of work and stress the importance of leisure in life. This essay discusses two slacker films, Richard Linklater’s Slacker and Kevin Smith’s Clerks, which defined the slacker phenomenon in the 1990s and constituted two important landmarks in American independent film. While many of us may find the slacker pathetic and annoying, this essay argues that there is much value to be found in this healthy counterculture. By offering their perspectives on issues such as the Puritan work ethic, work-incited self-importance, leisure versus idleness and human relationships, Linklater and Smith join the preceding generations of slackers, providing a much needed balance to the American obsession with work and success. (shrink)

In 2010, two years after the global financial collapse that triggered the worst economic crisis since the Great Depression of the 1930s, the best-selling publication in France was not that year’s Prix Goncourt,1 Michel Houellebecq’s La carte et le territoire (The Map and the Territory), a novel published by Flammarion, one of Paris’s leading publishing houses. That honor went to Indignez-vous! (Time for Outrage!), a 32-page pamphlet authored by 93-year-old Stéphane Hessel, a former hero of the French Resistance, a concentration (...) camp survivor and career diplomat. Hessel’s booklet, issued by Indigène Editions, a small provincial publisher, has since sold over 2 million copies, reaching an estimated 10 million .. (shrink)

In the wake of paradigm-shifting works on cinematic affect over the last few decades that have challenged psychoanalytically based gaze theory, embodied perception and sensory-affective experience...