In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology (...) experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

Jannie Pretorius and Michael Von Maltitz have identified some of the most pressing problems in South African education.1 They have argued that the education system is still suffering from the fragmented effects of apartheid and that the postapartheid government is struggling to set schools in motion to provide learners with authentic perspectives on the realities of their existence in a postapartheid South Africa. Naledi Pandor, the country's previous minister of education, painted a rather somber picture of the situation in (...) the Eastern Cape, one of South Africa's nine provinces:In a context in which there is ineffective system response on core obligations, it is very important to isolate those attributes that are .. (shrink)

Describing Cinema is part theory, part rhetoric, and part pedagogy. It examines and demonstrates acts of describing scenes, shots, and sequences in films, as probably the most common and the most underestimated way viewers respond to movies. Practiced energetically and carefully, descriptions become exceptionally rich ways to demonstrate and celebrate the activities, varieties, and challenges of a central generative movement in the viewing and interpretation of films. My motto might be an inversion of one character's tongue-in-cheek remark in Jean-Luc Godard's (...) First Name, Carmen (played by Godard himself), "badly seen, badly said," rephrased for this project as "badly said, badly seen." Here, that phrase becomes an indication how acts of describing films or parts of films can measure and instantiate complex ways of seeing that are partly about accuracy but also about the mobility of understanding and interpretation. At its best, describing films never simply denotes actions, images, sounds, or styles but rather produces the orchestration of one or more of those dimensions as an often creative and intersubjective movement between images, viewers, and a rhetorical language. Here, especially, writing about film becomes thinking about film. Part I provides a theoretical basis for this argument. Part II features sixteen short essays from landmarks of post-war cinema that demonstrate the energy and movement of precise descriptions. (shrink)

Historians of science and the philosophy of science find the substance and stance of Isaac Beeckman's thought highly interesting, for it represented an early attempt to develop a comprehensive picture of the world by means of mechanistic theory, that is, forces acting upon one another. Besides possibly influencing Descartes, this view broke away from medieval religious assumptions and belief in occult forces. Berkel teases out Beeckman's evolving approach to nature by means of his extensive journals, explaining the leading concept of (...) "picturability." Beeckman supplied a stepping stone (one still not widely appreciated) on the path that led to the scientific revolution. (shrink)

Research over the past half century has produced extensive evidence that observers cannot report or retain all of the details of their visual world from one moment to the next. During the past decade, a new set of studies has illustrated just how pervasive these limits are. For example, early evidence for the failure to detect changes to simple dot patterns (Phillips, 1974) and arrays of letters (Pashler, 1988) generalizes to more naturalistic displays such as photographs and motion (...) class='Hi'>pictures (e.g., Levin & Simons, 1997; Rensink, O’Regan, & Clark, 1997; see Rensink, 2002 for a recent review). This failure to report changes (change blindness) can be induced in both simple and naturalistic displays, whenever the change co-occurs with a visual disruption such as an eye movement (Currie, McConkie, Carlson-Radvansky, & Irwin, 1995; Hollingworth, Schrock, & Henderson, 2001), image shift (Blackmore, Brelstaff, Nelson, & Troscianko, 1995), flashed blank screen (Rensink et al., 1997), blink (O’Regan, Deubel, Clark, & Rensink, 2000), transient (O’Regan, Rensink, & Clark, 1999; Rensink, O’Regan, & Clark, 2000), movie cut or pan (Levin & Simons, 1997; Simons, 1996), or an occlusion event (Levin, Simons, Angelone, & Chabris, 2002; Simons & Levin, 1998). Change blindness can also occur in the absence of a disruption, provided the change occurs gradually enough that it does not attract attention (Simons, Franconeri, & Reimer, 2000). -/- Failures of visual awareness have been induced in a number of ways. For example, observers often fail to report a visible but unexpected stimulus when attention is focused on some other object or event in the display (inattentional blindness). As for change blindness, inattentional blindness occurs for both simple (Mack & Rock, 1998; Most et al., 2001) and naturalistic stimuli (Simons & Chabris, 1999). Similarly, repeated instances of an item often go undetected when embedded in a rapid sequence (repetition blindness), a phenomenon that occurs for both words and pictures (Kanwisher, 1987; Kanwisher & Potter, 1990). Observers can also fail to detect a stimulus in a rapid stream of stimuli provided they had to perform an attention-demanding task shortly before the stimulus appeared (Shapiro, Arnell, & Raymond, 1997). The surprisingly large variety of conditions that induce failures of conscious perception reinforces the broad conclusion that we are often unaware of what would otherwise be fully-visible stimuli. -/- Along with an increased appreciation of the limitations of visual awareness has come a renewed interest in using these limitations to explore the nature of the representations and processes underlying our visual experience. Are these limitations due to failures of perception? Of attention? Of memory? What is preserved with and without awareness? -/- The papers in this special issue of the Journal of Vision provide examples of exciting new work on induced failures of visual awareness and the mechanisms that underlie them. For example, several papers examine whether observers are drawn to parts of a display by the stimulus features or whether top-down control or semantic comprehension influence search through a display. Others investigate the nature of and limits on the information that is preserved from one view to the next and how much information needs to be retained for effective perception and action. As guest editors, we hope that this special issue will illustrate how studying the relationship between visual awareness and visual representations can lead to important new insights into the nature of seeing. (shrink)

В учебном пособии изложены методы расчета различных средств непрерывного транспорта, основанные на рассмотрении напряженно-деформированного состояния сыпучих грузов с позиций статистической теории предельного равновесия Кулона – Мора, а напряженно-деформированного состояния конвейерных лент – по теории первоначально-напряженных движущихся ортотропных оболочек.Книга рассчитана на студентов и аспирантов вузов, обучающихся по специальности «Подъемно-транспортные, строительные, дорожные машины и оборудование». Может быть использована научными и инженерно-техническими работниками горнодобывающей, машиностроительной, химической и других отраслей промышленности.

Contemporary Complex Cinema. Complex conditions: the resurgence of narrative complexity ; Complex cinema as brain-candy for the empowered viewer ; Narrative taxonomies: simple, complex, puzzle plots -- Cognitive Approach to Contemporary Complex Cinema. Why an (embodied-)cognitive approach? ; Various forms of complexity and their effects on sense making ; Problematizing narrative linearity ; Complicating narrative structures and ontologies ; Under-stimulation and cognitive overload ; Contradictions and unreliabilities ; A cognitive approach to classifying complexity ; Deceptive unreliability and the twist film (...) ; Disorienting but solvable puzzle films ; Impossible puzzle films -- Narrative Complexity and Dissonant Cognitions. The concept of cognitive dissonance ; Cognitions in dissonance: from social psychology to narrative engagement ; Types of dissonance in narrative comprehension ; Narrative incongruities ; Narrative impossibilities ; Cognitive access to impossible storyworlds: immersed and reflected operations ; 'Impossibilities' and embodied cognition ; Disrupting viewers' reliance on image schemas by perceptual impossibility ; Disrupting viewers' reliance on image schemas by formal impossibility -- Taming Dissonance: Cognitive Operations and Interpretive Strategies. Cognitive dissonance versus narrative coherence ; Reducing dissonance: interpretation and naturalization ; Foregrounding ; Narrating agency and authorship ; Artefact emotions and metareflexive appreciation ; Interpretation as dissonance reduction ; Coping with dissonance: frame-switches and poetic and aesthetic readings ; Frame-switching as hermeneutic play in impossible puzzle films ; Switching between narrative and symbolical readings: Enemy and Mulholland Drive ; Cognitive hesitation and the fantastic -- Impossible Puzzle Films: Between Art-Cinema and (Post-) Classical Narration. From art-cinema to puzzle films ; Art-cinema as a narrative mode ; Dissonance in modernist art-cinema ; Art-cinema as a cognitive reception frame ; Narrative complexity and meaning-making in art-cinema ; Impossible puzzle films and (post-)classical narration ; High degree of tellability ; Identification with goal-oriented characters ; Strong reliance on classical genre elements ; Adherence to classical narrative cohesion devices ; Inclusion of quasi-rational frames of naturalization -- Wallowing in Dissonance: The Attractiveness of Impossible Puzzles. Hermeneutic play and interpretive multiplicity ; Orientation, navigation, mapping ; Game logic and the fascination in failure ; Effort justification ; Diegetization of decoupling ; Fascination in infinity ; Destabilized ontological certainty ; Eudaimonic motivations and intrinsic needs. (shrink)

Film, Philosophy, and Reality: Ancient Greece to Godard is an original contribution to film-philosophy that shows how thinking about movies can lead us into a richer appreciation and understanding of both reality and the nature of human experience. Focused on the question of the relationship between how things seem to us and how they really are, it is at once an introduction to philosophy through film and an introduction to film through philosophy. The book is divided into three parts. (...) The first is an introduction to philosophy and film, designed for the reader with little background in one or the other subject. The second examines the philosophical importance of the distinction between appearance and reality, and shows that reflection upon this distinction is naturally provoked by the experience of watching movies. The final part takes a close and careful look at the style and techniques of Jean-Luc Godard's groundbreaking film Breathless in order to illustrate how such themes can be explored cinematically. The book addresses topics such as: Film: what it is and how to understand it The methods and concerns of philosophy The nature of cinematic appearances The history of metaphysics The relationship between cinema and life The philosophical relevance of film techniques. With a glossary of key thinkers, terms, and concepts, as well as sections on suggested films and further reading, this textbook will appeal to lecturers and students in undergraduate philosophy and film courses, and in courses focused on Philosophy of Film, Philosophy and Film, or Film-Philosophy. (shrink)

_Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.

This book is a series of seventeen mediations that revolve around the notion of the viewer's placement at the edge of the screen to reconsider what it is that we watch when we watch a film, what happens to us, and how we make sense of and appreciate it. This book analyzes several films, including 2001: A Space Odyssey, Memento, Zabriskie Point, An American in Paris, Planet of the Apes (1968), Superman (1978), Possessed, The Jungle Book (1942), The Spy Who (...) Came In from the Cold, The Toll of the Sea, Rope, among others. (shrink)

Murray Smith presents an original approach to understanding film. He brings the arts, humanities, and sciences together to illuminate artistic creation and aesthetic experience. His 'third culture' approach roots itself in an appreciation of scientific innovation and how this has shaped the moving media.

This book addresses a very real gap in existing introductory texts that define, explore, and apply key theoretical concepts within the field of film studies.' Alison L. McKee, Assistant Professor, Department of Television-Radio-Film-Theatre, San Jose State University, USA 'This is the book that film students have long been waiting for: a clear, well-written and accessible introduction to film theory. Lucid theoretical exposition and case study film analysis offer readers the most intelligible summary of theory that I have yet encountered.' Paul (...) Sutton, Head of Media, Culture and Language, Roehampton University Film theory has a reputation for being difficult. It is challenging, it takes time and it can frequently leave students feeling inadequate and frustrated. Furthermore, theory can often seem intimidating and oldfashioned and therefore it can be difficult to appreciate its modern-day relevance. Understanding Film Theory aims to disassociate theory from these negative connotations and bring a fresh, modern and accessible approach to the discipline. Each of the fifteen chapters provides an insight into the main areas of debate by introducing key ideas and thinkers. Taking the application of theory as its central theme, the book incorporates a number of exciting and innovative features: 'Reflect and Respond' sections encourage readers to engage critically with theoretical concepts, while seminal texts are concisely summarized without oversimplifying key points. Throughout the book the authors illustrate why theory is important and demonstrate how it can be applied in a meaningful way, with relevant case studies drawn from both classic and contemporary cinema including: Once Upon a Time in the West (1968), Run Lola Run (1998), Moulin Rouge! (2001), Rabbit-Proof Fence (2002), Old Boy (2003), Brokeback Mountain (2005), Mamma Mia! (2008) and Avatar (2009). Additional case studies address key genres ('swashbucklers' and the film musical), film movements (Dogme 95), individual actors (Christian Bale, Judi Dench and Amitabh Bachchan) and directors (Alfred Hitchcock and Guillermo del Toro). Understanding Film Theory is an accessible and comprehensive introduction to film theory. It is the ideal entry point for any student studying film, using clear definitions and explaining complex ideas succinctly. Christine Etherington-Wright is a Senior Lecturer in Film Studies at University of Portsmouth (UK) where she teaches a course on Film Theory. She is the author of Gender, Professions, Discourse (Palgrave, 2008). Ruth Doughty is a Senior Lecturer in Film Studies at University of Portsmouth (UK). She is one of the co-founding editors of the journal Transnational Cinemas and co-edited Sound and Music in Film and Visual Media (2008). (shrink)

This book is an easy-to-read, fun and provocative discussion of how to understand, appreciate, and evaluate film. Written by professor and film guru Michael Gose, the book is loved by students and moviegoers alike.

A COMPANION TO MOTION PICTURES AND PUBLIC VALUE A Companion to Motion Pictures and Public Value brings together original essays by world-renowned scholars investigating the varied intersections of the moving image and the public good. Covering a wide range of types and genres of cinema, this unprecedented volume explores the past, present, and possible future contributions of motion pictures to public value. With a cross-disciplinary approach, the text presents original conceptual work, global perspectives, philosophical (...) arguments, historical discussion, empirical research, and specific case studies of the direct and indirect public value developed through motion pictures. Organized into seven thematic sections, this Companion identifies and discusses the various kinds of values that motion pictures can deliver, including artistic and aesthetic, ethical and moral, spiritual and religious, cultural, environmental, political, and cognitive. Throughout the text, readers are provided with deep insight into the issue of public value as it relates to cinema and its positive impact on human life and society. A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines. (shrink)

Christopher Nolan is the writer and director of Hollywood blockbusters like The Dark Knight and The Dark Knight Rises, and also of arthouse films like Memento and Inception. Underlying his staggering commercial success however, is a darker sensibility that questions the veracity of human knowledge, the allure of appearance over reality and the latent disorder in contemporary society. This appreciation of the sinister owes a huge debt to philosophy and especially modern thinkers like Friedrich Nietzsche, Sigmund Freud and Jacques (...) Derrida. Taking a thematic approach to Nolan's oeuvre, Robbie Goh examines how the director's postmodern inclinations manifest themselves in non-linearity, causal agnosticism, the threat of social anarchy and the frequent use of the mise en abyme, while running counter to these are narratives of heroism, moral responsibility and the dignity of human choice. For Goh, Nolan is a 'reluctant postmodernist'. His films reflect the cynicism of the modern world, but with their representation of heroic moral triumphs, they also resist it. (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

This book looks at the ways in which The Matrix Trilogy adapts Jean Baudrillard’s Simulacra and Simulation, and in doing so creates its own distinctive philosophical position. Where previous work in the field has presented the trilogy as a simple ‘beginner’s guide’ to philosophy, this study offers a new methodology for inter-relating philosophy and film texts, focusing on the conceptual role played by imagery in both types of text. This focus on the figurative enables a new-found appreciation of the (...) liveliness of philosophical writing and the multiple philosophical dimensions of Hollywood films. The book opens with a critical overview of existing philosophical writing on The Matrix Trilogy and goes on to draw on adaptation theory and feminist philosophy in order to create a new methodology for interlinking philosophical and filmic texts. Three chapters are devoted to detailed textual analysis of the films, tracing the ways in which the imagery that dominates Baudrillard’s writing is adapted and transformed by the trilogy’s complex visuals and soundtrack. The conclusion situates the methodology developed throughout the book in relation to other approaches currently emerging in the new field of Film-Philosophy. The book’s multi-disciplinary approach encompasses Philosophy, Film Studies and Adaptation Theory and will be of interest to undergraduates and postgraduates studying these subjects. It also forms part of the developing interdisciplinary field of Film-Philosophy. The detailed textual analysis of The Matrix Trilogy will also be of interest to anyone wishing to deepen their understanding of the multi-faceted nature of this seminal work. (shrink)

Emotions play at least three key roles in cinema. First, many motion pictures present highly emotional situations, involving characters who fall in love, who endure unbearable loss, and who become hell-bent on revenge. To make sense of movies, we must identify the emotions that drive their characters. Second, motion pictures seem to arouse emotions. We go to tearjerkers that make us cry, splatter films that make us writhe, and action films that keep us at the edges (...) of our seats. Third, these emotional experiences are, ostensibly, part of cinema’s allure; we value movies that evoke strong feelings. One might summarize these three observations by saying that movie-going involves emotion attribution, arousal, and motivation. Each of these has been a domain of philosophical contestation. How are emotions attributed when experiencing a cinematic fiction? Are genuine emotions really aroused? And do emotional experiences really bring us to the box office? This discussion explores controversies along these three dimensions. (shrink)

pt. II. Observation and recall as a function of age.--pt. III. Fidelity of report as a measure of adult intelligence.--pt. IV. The technique of mental-test surveys among adults.

The Language and Style of Film Criticism brings together original essays from an international range of academics and film critics highlighting the achievements, complexities and potential of film criticism. In recent years, in contrast to the theoretical, historical and cultural study of film, film criticism has been relatively marginalised, especially within the academy. This book highlights the distinctiveness of film criticism and addresses ways in which it can take a more central place within the academy and develop in dynamic ways (...) outside it. The Language and Style of Film Criticism is essential reading for academics, teachers, students and journalists who wish to understand and appreciate the language and style of film criticism. (shrink)

Book review of _The Philosophy of Motion Pictures_ by Noël Carroll.

Narrative is everywhere and has unique powers: to enchant and inspire, to make sense of our lives and ourselves and to afford us an enriched understanding of alternative worlds and lives and of better futures - though narrative also has the potential to coerce and oppress. Narrative is at the centre at all stages of the English curriculum and has been the subject of a burgeoning critical industry. This timely volume addresses the many ways in which recent thinking has informed (...) the teaching of narrative in university classrooms in the UK and the USA. Distinguished teachers from both countries range widely across narrative topics and genres, including the opportunities opened up by new technologies, and chapters articulate students' own individual and collaborative experiences in the teaching/learning process. The result is a volume that explores the pleasurable challenges of working with students to help them appreciate and assess the power that narrative exerts, to become reflective critics of its inner workings as well as exponents of narrative themselves. (shrink)

On the surface, The Philosophical Hitchcock: Vertigo and the Anxieties of Unknowingness, is a close reading of Alfred Hitchcock’s 1958 masterpiece Vertigo. This, however, is a book by Robert B. Pippin, one of our most penetrating and creative philosophers, and so it is also much more. Even as he provides detailed readings of each scene in the film, and its story of obsession and fantasy, Pippin reflects more broadly on the modern world depicted in Hitchcock’s films. Hitchcock’s characters, Pippin shows (...) us, repeatedly face problems and dangers rooted in our general failure to understand others—or even ourselves—very well, or to make effective use of what little we do understand. Vertigo, with its impersonations, deceptions, and fantasies, embodies a general, common struggle for mutual understanding in the late modern social world of ever more complex dependencies. By treating this problem through a filmed fictional narrative, rather than discursively, Pippin argues, Hitchcock is able to help us see the systematic and deep mutual misunderstanding and self-deceit that we are subject to when we try to establish the knowledge necessary for love, trust, and commitment, and what it might be to live in such a state of unknowingness. A bold, brilliant exploration of one of the most admired works of cinema, The Philosophical Hitchcock will lead philosophers and cinephiles alike to a new appreciation of Vertigo and its meanings. (shrink)

According to Wittgenstein’s claim that our “seeing a thing as” is strongly dependent on what he calls “world-picture” and vice versa, motion pictures present “surveyable repres- entations” of our world-picture and therefore influence the way we see the world. Insofar as understanding means to see coherences, motion pictures help humans understand world-pictures. But the insights imparted by motion pictures are not of a mere cognitive kind, since motion pictures do not present (...) arguments. By making use of imaginative identification they have such an impact on humans that they directly “embody” insights and thereby changing what is accepted as knowledge within a world-picture. (shrink)

This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new (...) insights into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. (shrink)

_Celebrate the Dude with an abiding look at the philosophy behind _The Big Lebowski__ Is the Dude a bowling-loving stoner or a philosophical genius living the good life? Naturally, it's the latter, and _The Big Lebowski and Philosophy_ explains why. Enlisting the help of great thinkers like Plato and Nietzsche, the book explores the movie's hidden philosophical layers, cultural reflection, and political commentary. It also answers key questions, including: The Dude abides, but is abiding a virtue? Is the Dude an (...) Americanized version of the Taoist way of life? How does _The Big Lebowski_ illustrate the Just War Theory? How does bowling help Donny, Walter, and the Dude oppose nihilism? Yes, the Dude is deep, and so is this book. Don't watch the movie—or go to Lebowski Fest—without it. Explores many of _The Big Lebowski_'s key themes, such as nihilism, war and politics, money and materialism, idealism and morality, history, and more Gives you new perspective on the movie's characters—the Dude, the Big Lebowski, Walter Sobchak, Donny, Maude Lebowski, Bunny Lebowski, and others Helps you appreciate the Coen Brothers classic even more with the insights of Aristotle, Epicurus, Kant, Derrida, and other philosophical heavyweights. (shrink)

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with (...) contemporary social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: _ _ Philosophy of Literature_: Contemporary and Classic Readings_ _Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 _ Philosophy of Film and Motion Pictures_: An Anthology _Edited by No ë l Carroll and Jinhee Choi ISBN: 9781405120272.

_An engaging look at the philosophical underpinnings of Earth's Mightiest Heroes_ Avengers assemble! Tackling intriguing dilemmas and issues that no single great philosopher can withstand, this powerful book enlists the brainpower of an A-list team of history's most prominent thinkers to explore the themes behind the action of Marvel Comics' all-star superhero team. Arms you with new insights into the characters and themes of _The Avengers_ Deepens your appreciation both of _The Avengers_ comics and the Joss Whedon movie adaptation (...) Answers the philosophical questions you've always had about Earth's Mightiest Heroes, including: Can a reformed criminal become a superhero? Can an android love a human? If a hero beats his wife, is he still a hero? Helps you think differently about the members of the superhero team—Captain America, Iron Man, Thor, and the others This thought-provoking book will help you understand this band of superheroes better, whether you've followed the Avengers for years or are a Joss Whedon fan just getting to know them. (shrink)

Today’s film scholars draw from a dizzying range of theoretical perspectives—they’re just as likely to cite philosopher Gilles Deleuze as they are to quote classic film theorist André Bazin. To students first encountering them, these theoretical lenses for viewing film can seem exhilarating, but also overwhelming. _Thinking in the Dark _introduces readers to twenty-one key theorists whose work has made a great impact on film scholarship today, including Rudolf Arnheim, Sergei Eisenstein, Michel Foucault, Siegfried Kracauer, and Judith Butler. Rather than (...) just discussing each theorist’s ideas in the abstract, the book shows how those concepts might be applied when interpreting specific films by including an analysis of both a classic film and a contemporary one. It thus demonstrates how theory can help us better appreciate films from all eras and genres: from _Hugo _to_ Vertigo_, from _City Lights _to _Sunset Blvd._, and from _Young Mr. Lincoln_ to _A.I. _and _Wall-E_. The volume’s contributors are all experts on their chosen theorist’s work and, furthermore, are skilled at explaining that thinker’s key ideas and terms to readers who are not yet familiar with them. _Thinking in the Dark _is not only a valuable resource for teachers and students of film, it’s also a fun read, one that teaches us all how to view familiar films through new eyes. Theorists examined in this volume are: Rudolf Arnheim, Béla Balázs, Roland Barthes, André Bazin, Walter Benjamin, Judith Butler, Stanley Cavell, Michel Chion, Gilles Deleuze, Jean Douchet, Sergei Eisenstein, Jean Epstein, Michel Foucault, Siegfried Kracauer, Jacques Lacan, Vachel Lindsay, Christian Metz, Hugo Münsterberg, V. F. Perkins, Jacques Rancière, and Jean Rouch. (shrink)

This chapter surveys foundational concepts in the history of phenomenology for the purpose of highlighting their relevance for key contemporary issues in the philosophy of film. A central argument concerns phenomenology’s capacity for unraveling the ontology of film, given phenomenology’s emphasis on accounting for the ontology of phenomena through description based in first-person experience. On this ground, the chapter defends the claim that film’s ontology stems from the projective intentionality of the film viewer, where the communicative nature of embodied vision (...) also figures into play. The principal phenomenological frameworks taken up are those of Edmund Husserl, Martin Heidegger, and Maurice Merleau-Ponty, as well as the work of contemporary film scholar Vivian Sobchack. (shrink)