Results for 'Motion pictures Influence.'

975 found
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  1. For nothing is concealed! Motion picture, Wittgenstein, and seeing-as.Thomas Wachtendorf - 2021 - Journal of Comparative Literature and Aesthetic 44 (3):54-61.
    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 (...)
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  2. The Palgrave Handbook of the Philosophy of Film and Motion Pictures.Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.) - 2019 - Springer.
    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 (...)
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  3.  56
    The Varying Coherences of Implied Motion Modulates the Subjective Time Perception.Feiming Li, Lei Wang, Lei Jia, Jiahao Lu, Youping Wu, Cheng Wang & Jun Wang - 2021 - Frontiers in Psychology 12:602872.
    Previous research has demonstrated that duration of implied motion (IM) was dilated, whereas hMT+ activity related to perceptual processes on IM stimuli could be modulated by their motion coherence. Based on these findings, the present study aimed to examine whether subjective time perception of IM stimuli would be influenced by varying coherence levels. A temporal bisection task was used to measure the subjective experience of time, in which photographic stimuli showing a human moving in four directions (left, right, (...)
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  4.  74
    Media Literacy Education in Art: Motion Expression and the New Vision of Art Education.Kenta Motomura - 2003 - Journal of Aesthetic Education 37 (4):58.
    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 (...)
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  5.  27
    The Role of Animacy in Children's Interpretation of Relative Clauses in English: Evidence From Sentence–Picture Matching and Eye Movements.Ross Macdonald, Silke Brandt, Anna Theakston, Elena Lieven & Ludovica Serratrice - 2020 - Cognitive Science 44 (8):e12874.
    Subject relative clauses (SRCs) are typically processed more easily than object relative clauses (ORCs), but this difference is diminished by an inanimate head‐noun in semantically non‐reversible ORCs (“The book that the boy is reading”). In two eye‐tracking experiments, we investigated the influence of animacy on online processing of semantically reversible SRCs and ORCs using lexically inanimate items that were perceptually animate due to motion (e.g., “Where is the tractor that the cow is chasing”). In Experiment 1, 48 children (aged (...)
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  6. al-Tanwīr wa-al-ʻadamīyah: sīnimā.ʻAzīz Ḥaddādī - 2023 - ʻAmmān: Khuṭūṭ wa-Ẓilāl lil-Nashr wa-al-Tawzīʻ.
     
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  7.  10
    Cinema's baroque flesh: film, phenomenology and the art of entanglement.Saige Walton - 2016 - Amsterdam: Amsterdam University Press.
    Introduction. Flesh and its reversibility ; Defining the baroque ; 'Good looking' ; A cinema of baroque flesh -- 1. Flesh, cinema and the baroque : the aesthetics of reversibility. Baroque vision and painting the flesh ; Baroque flesh ; Analogous embodiments : the film's body ; Baroque vision and cinema ; Summation : face to face-feeling baroque deixis -- 2. Knots of sensation : co-extensive space and a cinema of the passions. Synaesthesia, phenomenology, and the senses ; Cinesthesia and (...)
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  8.  10
    Rewatching on The Point of The Cinematic Index.Allen H. Redmon - 2022 - Jackson: University Press of Mississippi.
    Rewatching on the Point of the Cinematic Index offers a reassessment of the cinematic index as it sits at the intersection of film studies, trauma studies, and adaptation studies. Author Allen H. Redmon argues that far too often scholars imagine the cinematic index to be nothing more than an acknowledgment that the lens-based camera captures and brings to the screen a reality that existed before the camera. When cinema's indexicality is so narrowly defined, the entire nature of film is called (...)
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  9. Ibn Rushd wa-fīlm al-Maṣīr wa-Yūsuf Shāhīn wa-fīlm al-Ākhar wa-ʻawlamat al-ḥarb ḍidda al-Islāmīyīn.Muḥammad Ibrāhīm Mabrūk (ed.) - 1999 - al-Kīt Kāt [Giza]: Markaz al-Ḥaḍārah al-ʻArabīyah.
     
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  10. Home, exile, homeland: film, media, and the politics of place.Hamid Naficy (ed.) - 1999 - New York: Routledge.
    Global changes in capital, power, technology and the media have caused massive shifts in how we define home and community, leaving redrawn territories and globalized contexts. This interdisciplinary study of the media brings together essays by accomplished critics to discuss the way film, television, music, and computer and electronic media are shaping identities and cultures in an increasingly globalized world. Ranging from intensely personal to highly theoretical, the contributors explore our complex negotiation of "home" and homeland" in a postmodern world. (...)
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  11.  11
    Mapping the sensible: distribution, inscription, cinematic thinking.Erica Carter - 2023 - Boston: Walter de Gruyter.
    Mapping figures in cinema as an experiential process inscribed within historically specific aesthetic regimes. The three long essays in this book explore mapping as a process of violent inscription on colonial landscapes (Malcomess); a practice of c.
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  12.  59
    Essential Brakhage: selected writings on filmmaking.Stan Brakhage - 2001 - Kingston, N.Y.: Documentext. Edited by Bruce R. McPherson.
    In the course of making nearly 400 films over the past 50 years, "Stan Brakhage" became synonymous with independent American filmmaking, particularly its avant-garde component. This major collection of writings draws primarily upon two long out-of-print books--Metaphors on Vision and Brakhage Scrapbook. Brakhage examines filmmaking in relation to social and professional contexts, the nature of influence and collaboration, the aesthetics of personal experience, and the conditions under which various films were made. Brakhage discusses his predecessors and contemporaries, relates film to (...)
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  13.  15
    The continental philosophy of film reader.Joseph Westfall (ed.) - 2018 - New York: Bloomsbury Academic.
    The first collection of its kind, The Continental Philosophy of Film Reader is the essential anthology of writings by continental philosophers on cinema, representing the last century of film-making and thinking about film, as well as all of the major schools of Continental thought: phenomenology and existentialism, Marxism and critical theory, semiotics and hermeneutics, psychoanalysis, and postmodernism. Included here are not only the classic texts in continental philosophy of film, from Benjamin's “The Work of Art in the Age of Mechanical (...)
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  14.  10
    Performing ethics through film style: Levinas with the Dardenne Brothers, Barbet Schroeder and Paul Schrader.Edward Lamberti - 2020 - Edinburgh: Edinburgh University Press.
    Proposing a relationship between Levinasian ethics and film style, and bringing it into a productive dialogue with theories of performativity, this book explores this influence through three directorial bodies of work: those of Barbet Schroeder, Paul Schrader and the Dardenne Brothers.
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  15.  13
    Cinematic art and reversals of power: Deleuze via Blanchot.Eugene B. Young - 2022 - London: Bloomsbury Academic.
    Bringing together Deleuze, Blanchot, and Foucault, this book provides a detailed and original exploration of the ideas that influenced Deleuze's thought leading up to and throughout his cinema volumes and, as a result, proposes a new definition of art. Examining Blanchot's suggestion that art and dream are "outside" of power, as imagination has neither reality nor truth, and Foucault's theory that power forms knowledge by valuing life, Eugene Brent Young relates these to both Deleuze's philosophy of time and his work (...)
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  16.  54
    Induced failures of visual awareness.Daniel J. Simons & Ronald A. Rensink - 2003 - Journal of Vision 2 (3).
    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 (...) (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)
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  17.  44
    Eco-media: art informed by developments in ecology, media technology and environmental science.Andrea Polli - 2007 - Technoetic Arts 5 (3):187-200.
    In the twenty-first century, there has been a resurgence of ecologically conscious art among artists using new technologies. Like Eco-art, this recent movement, which might be called Eco-media, is interdisciplinary. Eco-media is heavily influenced by developments in environmental science, in particular developments in remote imaging and other kinds of remote Earth sensing (for example, the widespread use of satellite imaging and GPS) and developments in computer modelling (for example, detailed global models of climate that not only model the physics of (...)
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  18. The Philosophy of Motion Pictures.Noël Carroll - 2007 - Oxford: Wiley-Blackwell.
    _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.
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  19.  14
    Cinéma et philosophie.Dominique Chateau - 2003 - Paris: Nathan.
    L'influence de la philosophie sur le cinéma peut être observée sous trois éclairages : la manière dont le cinéma représente le philosophe ; les tentatives pour adapter à l'écran les textes philosophiques ; la capacité enfin du cinéma à philosopher. Cinéma et philosophie en dresse un bilan à la fois historique et critique et témoigne d'une phase nouvelle de la théorie du cinéma. Dominique Château synthétise ici les contributions de Bergson, Benjamin, Eisenstein, Epstein, Bazin, Merleau-Ponty, Mitry, Cavell, Deleuze, Schefer entre (...)
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  20.  21
    Philosophy-screens: from cinema to the digital revolution.Mauro Carbone - 2019 - Albany: State University of New York Press. Edited by Marta Nijhuis.
    In The Flesh of Images, Mauro Carbone analyzed Merleau-Ponty's interest in film as it relates to his aesthetic theory. Philosophy-Screens broadens the work undertaken in this earlier book, looking at the ideas of other twentieth-century thinkers concerning the relationship between philosophy and film, and also extending that analysis to address the wider proliferation of screens in the twenty-first century. In the first part of the book, Carbone examines the ways that Sartre, Merleau-Ponty, Lyotard, and Deleuze grappled with the philosophical significance (...)
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  21.  12
    Isaac Beeckman on matter and motion: mechanical philosophy in the making.Klaas van Berkel - 2013 - Baltimore: The Johns Hopkins University Press.
    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 (...)
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  22.  14
    Screen stories: emotion and the ethics of engagement.Carl R. Plantinga - 2018 - New York, NY: Oxford University Press.
    The way we communicate with each other is vital to preserving the cultural ecology, or wellbeing, of a place and time. Do we listen to each other? Do we ask the right questions? Do we speak about each other with respect or disdain? The stories that we convey on screens, or what author Carl Plantinga calls 'screen stories,' are one powerful and pervasive means by which we communicate with each other. Screen Stories: Emotion and the Ethics of Engagement argues that (...)
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  23.  9
    Acinemas: Lyotard's Philosophy of Film.Graham Jones & Ashley Woodward (eds.) - 2017 - Edinburgh: Edinburgh University Press.
    This collection presents, for the first time in English, Jean-Francois Lyotard's major essays on film: 'Acinema', 'The Unconscious as Mise-en-scene', 'Two Metamorphoses of the Seductive in Cinema' and 'The Idea of a Sovereign Film'. Then, eight critical essays by philosophers and film theorists examine Lyotard's film work and influence across two sections: 'Approaches and Interpretations' and 'Applications and Extensions'. These works are complemented by an introductory essay by leading French scholar Jean-Michel Durafour on Lyotard's film-philosophy, an overview of Lyotard's practical (...)
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  24.  8
    Samuel Beckett and cinema.Anthony Paraskeva - 2017 - New York: Bloomsbury Academic.
    In 1936 Samuel Beckett wrote a letter to Sergei Eisenstein - the legendary director of such films as Battleship Potemkin - expressing his own desire to work in the lost tradition of silent film. Drawing on substantial archival material, this is the first book to examine comprehensively the full extent of Beckett's engagement with cinema and its influence on his work for stage and screen. Examining his writing on second wave modernist cinema, including the work of directors such as Eisenstein, (...)
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  25. Motion pictures : literary images of horizontal movement.Guido Isekenmeier - 2011 - In Renate Brosch, Ronja Tripp & Nina Jürgens, Moving images, mobile viewers: 20th century visuality. Berlin: Lit.
     
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  26.  6
    Still: American Silent Motion Picture Photography.David S. Shields - 2013 - University of Chicago Press.
    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 (...)
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  27.  38
    Motion pictures as metaphoric consumption: How animal narratives teach us to be human.Elizabeth C. Hirschman & Clinton R. Sanders - 1997 - Semiotica 115 (1-2):53-80.
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  28. The Philosophy of Motion Pictures.NoË Carroll & L. - 2007 - Oxford: Wiley-Blackwell.
     
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  29.  9
    Artists in the Audience: Cults, Camp, and American Film Criticism.Greg Taylor - 2001 - Princeton University Press.
    How have popular American films influenced film criticism and intellectual thinking. This book shows that critics, beginning in the 1940s, turned to the movies as raw material to be moulded into a more radical modernism.
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  30.  11
    Politics of the Self: Feminism and the Postmodern in West German Literature and Film.Richard W. McCormick - 2016 - Princeton Legacy Library.
    Richard McCormick examines the concepts of postmodernity and postmodernism as they apply to West Germany, discussing them against the background of cultural and political upheaval in that country since the 1960s, rather than exclusively in the more familiar setting of intellectual history. Considering six literary and cinematic texts that are marked by a preoccupation with the self and subjectivity, he underscores the crucial influence of feminism on writers and filmmakers--and on the "postmodern." In a broad international context he describes the (...)
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  31.  20
    A Companion to Motion Pictures and Public Value.Ted Nannicelli & Mette Hjort (eds.) - 2022 - Wiley Blackwel.
    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 (...)
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  32.  15
    The ordinary man of cinema.Jean Louis Schefer - 2016 - South Pasadena, CA.: Semiotext(e). Edited by Max Cavitch, Paul Grant & Noura Wedell.
    When it was first published in French in 1980, The Ordinary Man of Cinema signaled a shift from the French film criticism of the 1960s to a new breed of film philosophy that disregarded the semiotics and post-structuralism of the preceding decades. Schefer describes the schizophrenic subjectivity the cinema offers us: the film as a work projected without memory, viewed by (and thereby lived by) a subject scarred and shaped by memory. The Ordinary Man of Cinema delineates the phenomenology of (...)
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  33.  11
    Psychological studies of motion pictures. II-IV.Harold Ellis Jones - 1928 - Berkeley: University of California Press. Edited by Herbert S. Conrad, Horn, Aaron & [From Old Catalog].
    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.
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  34.  39
    Affect and Motion Pictures.Jesse Prinz - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht, The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 893-921.
    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 (...)
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  35. The philosophy of motion pictures • by Noël Carroll.Andrew Kania - 2009 - Analysis 69 (1):194-195.
    Book review of _The Philosophy of Motion Pictures_ by Noël Carroll.
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  36.  25
    The economics of the motion picture industry: A survey.J. C. Strick - 1978 - Philosophy of the Social Sciences 8 (4):406-417.
  37. Music and motion pictures.Noël Carroll & Margaret Moore - 2011 - In Theodore Gracyk & Andrew Kania, The Routledge Companion to Philosophy and Music. New York: Routledge.
     
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  38. (1 other version)Looking at Motion Pictures.Richard Allen - 1997 - In Richard Allen & Murray Smith, Film theory and philosophy. New York: Oxford University Press.
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  39.  77
    Norbert Elias’s Motion Pictures: history, cinema and gestures in the process of civilization.Gadi Algazi - 2008 - Studies in History and Philosophy of Science Part A 39 (3):444-458.
    Norbert Elias’s project in The process of civilization involved reconstructing invisible movement—both the slow tempoof long-term historical change and the modification of psychic structures and embodied dispositions. To do this, he resorted to uncommon devices: treating historical texts as constituting a series amenable to a rudimentary discourse analysis, he constructed an imagined ‘curve of civilization’ serving as an approximation of the hidden process of change. Elias’s curve was not supposed to represent single past states, but movement itself, its direction and (...)
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  40.  53
    Experiential Realism and Motion Pictures: A Neurophenomenological Approach.Jane Stadler - 2016 - Studia Phaenomenologica 16:439-465.
    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 (...)
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  41.  11
    Existential science fiction.Ryan Lizardi - 2022 - Lanham: Lexington Books.
    This book explores contemporary existential science fiction media and their influence on society's conceptions of humanity. These media texts manifest abstract concepts in a genre that has historically focused on exploring new ideas and frontiers, creating powerful media that helps audiences contemplate their existence as human beings.
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  42. (2 other versions)Philosophy of Film and Motion Pictures: An Anthology.Jinhee Choi (ed.) - 2005 - Wiley.
     
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  43. The Philosophy of Motion Pictures, by Noël Carroll.Ward E. Jones - 2013 - Mind 122 (486):fzt066.
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  44.  6
    Imaginary Spaces of Power in Sub-Saharan Literatures and Films.Alix Mazuet (ed.) - 2012 - Cambridge Scholars Press.
    This collection of essays is unlike others in the field of African studies, for it is based on three very precisely delineated focal points: a particular geographical region, the sub-Sahara; specific modes of cultural production, literature and cinema; and a focus on works of French expression. This three-fold approach to exploring the relationships between power and culture in a non-Western environment greatly contributes to making this book unique from a variety of perspectives: African, Francophone and postcolonial studies, as well as (...)
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  45.  29
    The Philosophy of Motion Pictures.T. E. Wartenberg - 2009 - British Journal of Aesthetics 49 (1):83-85.
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  46. The Lived Experience of Motion Pictures: A Phenomenological Approach to Cinema.Hanna Trindade - 2019 - In Christina Rawls, Diana Neiva & Steven S. Gouveia, Philosophy and Film: Bridging Divides. New York: Routledge Press, Research on Aesthetics.
     
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  47.  18
    Sight, Sound and Society: Motion Pictures and Television in America.Frank Manchel, David Manning White & Richard Averson - 1971 - Journal of Aesthetic Education 5 (2):166.
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  48. The Effects of the Motion Picture on the Mind and Morals of the Young.Joseph Roy Geiger - 1923 - International Journal of Ethics 34 (1):69-83.
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  49.  15
    Homo Cinematicus: Science, Motion Pictures, and the Making of Modern Germany[REVIEW]Sandra Schnädelbach - 2018 - Isis 109 (4):864-865.
  50.  16
    Philosophy of Literature & Philosophy of Film and Motion Pictures, 2 Book Set.Dominic Mciver Lopes, No?L. Carroll & Jinhee Choi - 2008 - Wiley-Blackwell.
    Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary (...)
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