Filmosophy is a provocative new manifesto for a radically philosophical way of understanding cinema. It coalesces twentieth-century ideas of film as thought (from Hugo Münsterberg to Gilles Deleuze) into a practical theory of "film-thinking," arguing that film style conveys poetic ideas through a constant dramatic "intent" about the characters, spaces, and events of film. Discussing contemporary filmmakers such as Béla Tarr and the Dardenne brothers, this timely contribution to the study of film and philosophy will provoke debate among audiences and (...) filmmakers alike. FILMOSOPHY ® is a registered U.S. trademark owned by Valentin Stoilov (www.filmosophy.com) for educational services in the field of motion picture history theory and production. Mr. Stoilov is not the source or origin of this book and has not sponsored or endorsed it or its author. (shrink)

The reason for the lexical transformation of classical Latin auctor and auctoritas into Neo-Latin author and authoritas has remained obscure outside of specialist literature. This note offers a consolidated account of the matter in English. Based on a minor misreading of Priscian’s Institutiones grammaticae by glossators active at the turn of the thirteenth century, a back-formation of Latin author by analogy with Greek αὐθέντης and αὐθεντία was proposed by humanist scholars in the sixteenth century. Once introduced, the Neo-Latin fricative th (...) dropped out or was never fully adopted into any of the European vernaculars except English, where it nonetheless survives in ‘author’ and its derivatives today. (shrink)

This text is simply a report on some new film releases in London, England. Considering all the film reviews littering the world, and considering the title of our salon-journal, I thought it would be interesting to approach 'reviewing' in a less conventional wa.

Not long before his death in 1984, Hollis Frampton left us with a collection of texts entitled _Circles of Confusion_, which, although tragically out of print, stands as one of the most important events in the study of cinema.

Despite the frequent interpretation of any Early-Christian-era art that contains both Christian and pagan imagery as being solely Christian in meaning, this paper argues that the identification of these images as being Christian in nature, with the pagan imagery only present as borrowed ideas to support a Christian message, is problematic. By assessing some of the existing scholarship surrounding this topic, I attempt to problematize the assumptions made that lead to these widely-accepted interpretations.

Our task is the preservation of historic towns. In America as in Europe historic town centers are surrounded by recent additions and suburban sprawl. It is tempting to imagine the task of preservation as protecting our historical heritage from a featureless wave of mediocrity, as the worldwide commercial civilization overwhelms local cultures. This story is familiar from the writings of Kenneth Frampton and others: sprawl, homogenization, loss of distinctive local and regional form. I want to disagree with this story. (...) From what force are we trying to save the historic towns? Might not that force have its own new kinds of order? Might that new order be already at work inside the historic towns? Are its effects only negative? I want to question a presupposition common in many discussion of historic preservation. This is the presupposition that a spatially distinct historic center belongs to a single community that possesses a unified self-consciousness and a unified aesthetic self-image. Local communities less and less correspond to bounded spatial areas, and spatial areas contain less and less homogeneous communities. There is growing a new kind of discontinuous unity, which is the theme of this essay. (shrink)

... the first book to examine all the central issues surrounding the vexed relationship between the film-image and philosophy. In it, John Mullarkey tackles the work of particular philosophers and theorists (Žižei, Deleuze, Cavell, Bordwell, Badiou, Branigan, Rancière, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Pyschoanalytic and phenomenological). Moreover, he also offers an incisive analysis and explanation of several prominent forms of film theorizing, providing a metalogical account of their mutual (...) advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising, and re-visioning the field of film theory as a whole. Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. In particular: must philosophy (and theory) always transform film into pre-texts for illustration? What would it take to imagine how film might itself theorise without reducing it to standard forms of thought and philosophy? Finally, and fundamentally, must we change our definition of philosophy and even of thought itself in order to accommodate the specificities that come with the claim that film can produce philosophical theory?"--Publisher's description, p. [4] of cover. (shrink)

This book offers an historical and critical guide to the concepts of the post-modern and the post-industrial. It brings admirable clarity and thoroughness to a discussion of the many different uses made of the term post-modern across a number of different disciplines (including literature, architecture, art history, philosophy, anthropology and geography). It also analyses the concept of the post-industrial society to which the concept of the post-modern has often been related. Dr Rose discusses the work of many theorists in the (...) area, including Hassan, Lyotard, Jameson and the architectural historian Charles Jencks, and also looks at analyses and uses of the concepts of the post-modern and post-industrial by Frampton, Portoghesi, Peter Fuller and others. (shrink)

Images, whether filmic or not, cannot be replaced by words. Yet words can make images. This is the thesis underlying So What, a collection of essays on filmmakers and artists, including Luchino Visconti, Orson Welles, Marguerite Duras, Hollis Frampton, and Agnes Martin.

The fathers of the Modern movement have undoubtedly created a new tradition in architecture, as advertised by Siegfried Giedion in the classic book Space, Time, and Architecture, first published in 1941. As a practicing architect, I surely disagree with the “most reductive aspects of modern (twentieth-century) architecture,” as Nathaniel Coleman puts it,1 which are inherent to what he calls—following the definition by architectural critic Kenneth Frampton—“orthodox modern architecture.” However, this new tradition is not limited by the rigid forms of (...) orthodox modernism, including its many variations and the undeniable achievements of many architects who were able to create meaningful buildings for a postindustrial .. (shrink)

Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.