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)

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 (...) value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

Introduction -- Hillbilly as American Indian -- Appalachian woman as mammy -- Mountain migrant as Mexican migrant -- Appalachia and documentary -- Appendix: Appalachian types in cinema.

_Minerva’s Night Out_ presents series of essays by noted philosopher and motion picture and media theorist Noël Carroll that explore issues at the intersection of philosophy, motion pictures, and popular culture. Presents a wide-ranging series of essays that reflect on philosophical issues relating to modern film and popular culture Authored by one of the best known philosophers dealing with film and popular culture Written in an accessible manner to appeal to students and scholars Coverage ranges from the philosophy (...) of Halloween to _Vertigo_ and the pathologies of romantic love. (shrink)

"A book well worth reading as its expose of postmoderism has a clarity others would do well to imitate." --Tim Gay in NATFHE Journal Blue Velvet, sex, lies and videotape, Do the Right Thing, and Wall Street are just some of the provocative films that Denzin explores for their portrayal of the postmodern self. He examines the basic thesis that members of the contemporary world are voyeurs who, adrift in a sea of symbols, recognize and anchor themselves through cinema and (...) television. He skillfully weaves this idea back and forth between two kinds of texts: social theory, including poststructuralism, postmodernism, feminism, and marxism; and cinematic representations of life in modern America. The result is a solid assertion that postmodernism has shaped a dramaturgical society where the image has tragically replaced reality. Denzin offers a powerful reading of postmodern American society and the cinematic selves, however distorted, that inhabit this fantasy world. At the same time, he outlines the main contours of postmodern sociology and a postmodern sociological imagination that is responsive to the current historical moment. Images of Postmodern Society will play a key role in understanding the powerful relationship between postmodernism and the cinema for upper level graduates, gradate students, and contemporary scholars of cultural studies, communications, political science, anthropology, sociology, education, history, literary and cinema studies. "The book could be usefully incorporated into undergraduate sociology courses, particularly those that consider media and society, where it might serve as a basis for further discussion and examination of some important issues." --Journal of Communication "Images of Postmodern Society is a good book on two different levels. First, Denzin advances his own theory of postmodernism and, more specifically, of what he calls the "postmodern self," that is interesting and provocative. Second, this is one of the few books on postmodernity that is truly practical, in the sense that the book would be quite a good text to use in courses on the subject, whether they be in philosophy, sociology, film and media studies, cultural studies, and perhaps even anthropology. . . . I would certainly like to use the book for this purpose myself, and I would recommend the book for that purpose to colleagues in the departments mentioned." --Bill Martin, Philosophy Department, DePaul University "Denzin uncovers a profoundly important tension in postmodern culture . . . His work, then, demonstrates that the 'abundance of meaning' found in these films lies in the collision of modernist and postmodernist depictions of cultural practice." --Contemporary Sociology "Norman Denzin, one of the most interesting theorists and ethnographers in American sociology, has turned his critical eye to postmodern theory and contemporary American culture and society. Revitalizing Mills' sociological imagination, Denzin addresses the relations between Hollywood films of the 1980s, their constructions of self, and the structures of lived experience. He offers a postmodern sociology which addresses the increasingly conservative basis of postmodern ideologies of race, class, and gender. It offers an original postmodern critique of the postmodern. Images of Postmodern Society should be and will be widely read and discussed." --Larry Grossberg, University of Illinois. (shrink)

This article examines the practices of international business in the South Pacific island nation of Fiji. After an investigation of past practices of international businesses and the ways these have helped to shape the major social challenges confronting the nation today, the article turns to an exploration of those challenges, especially poverty and race relations. It is argued that there are two paramount responsibilities for international business operating in a context like Fiji: to conduct their business operations in (...) ways that genuinely add economic value locally; and to make a concerted and informed effort to avoid doing social harm. In order to meet these responsibilities, managers will have to do much better than their predecessors in terms of concern for and understanding of the unique social and cultural attributes of Fijian society. (shrink)

This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion of pure memory-time (...) entails ipso facto a critique of an influential idea of musical motion, which has been recurring in the work of some major philosophers of music up until the present day. The article connects Wittgenstein’s critical remarks on the confused foundations of such “Augustinian Picture of Music” with his emphasis on the notion of phrasing or characterization in language and music. Wittgenstein’s reversal of Augustinian priorities regarding musical time brings to surface the particularity of expression and the aesthetically “right” in music, evoked by Wittgenstein’s remarks on simultaneity and tempo in music and language. Wittgenstein renders musical simultaneity as enabled by a “protocol” which inheres in musizieren, in the aptly collaborative quest for drawing in significance by means of the phrasing and re-phrasing of a passage in order to characterize it, enabling by means of such comparative investigation meaningful distinctions between right and wrong. (shrink)

This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion of pure memory-time (...) entails ipso facto a critique of an influential idea of musical motion, which has been recurring in the work of some major philosophers of music up until the present day. The article connects Wittgenstein’s critical remarks on the confused foundations of such “Augustinian Picture of Music” with his emphasis on the notion of phrasing or characterization in language and music. Wittgenstein’s reversal of Augustinian priorities regarding musical time brings to surface the particularity of expression and the aesthetically “right” in music, evoked by Wittgenstein’s remarks on simultaneity and tempo in music and language. Wittgenstein renders musical simultaneity as enabled by a “protocol” which inheres in musizieren, in the aptly collaborative quest for drawing in significance by means of the phrasing and re-phrasing of a passage in order to characterize it, enabling by means of such comparative investigation meaningful distinctions between right and wrong. (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)

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)

Solidarity within a group facing adversity exemplifies certain human goods, some instrumental to the goal of mitigating the adversity, some non-instrumental, such as trust, loyalty, and mutual concern. Group identity, shared experience, and shared political commitments are three distinct but often-conflated bases of racial group solidarity. Solidarity groups built around political commitments include members of more than one identity group, even when the political focus is primarily on the justice-related interests of only one identity group (such as African Americans). A (...) solidarity group is more than a mere political coalition or alliance. Two other forms of political- commitment solidarity groups are ones devoted to racial justice more generally, and social justice even more generally. Racially plural political solidarity groups realize values beyond the afore-mentioned solidaristic ones, in meeting the challenges of different races working together. (shrink)

This edited book considers the need for the continued dismantling of conceptual and cultural hegemonies of 'East' and 'West' in the humanities and social sciences. Cutting across a wide range of literature, film and art from different contexts and ages, this collection seeks out the interpenetrating dynamic between both terms. Highlighting the inherent instability of East and West as oppositional categories, it focuses on the 'crossings' between East and West and this nexus as a highly-charged arena of encounter and collision. (...) Drawing from varied literary contexts ranging from Victorian literature to Chinese literature and modern European literature, the book covers a diverse range of subject matter, including material drawn from psychoanalytic and postcolonial theory and studies related to race, religion, diaspora, and gender, and investigates topical social and political issues -including terrorism, nationalism, citizenship, the refugee crisis, xenophobia and otherness. Offering a framework to consider the salient questions of cultural, ideological and geographical change in our societies, this book is a key read for those working within world literary studies. (shrink)

The tendency of customers’ preference to their local brands over the foreign ones is known as the consumer ethnocentrism, and it is one of the important issues in international marketing. This study aims at identifying the behavioral and neural correlates of Consumer Ethnocentrism in the field of brand preference by using Event-Related Potential (ERP). We sampled subjects from two ethnic groups, the Chinese ethnic group and the sub-Sahara black Africans group from the Zhejiang University. The subjects faced two sequential stimuli, (...) S1 followed by S2. The S1 consisted of 40 pictures of 20 Chinese and 20 Africans black peoples wearing traditional clothes, and S2 consisted of 40 fake brand-logos which were divided randomly into two groups of 20 each. The subjects were informed that the people in the S1 purchased and recommended the products with the brand-logos presented in S2, and the subjects were asked to rate their preference degree toward these logos. The brand-logos were called the “in-group recommended logos” if the recommender in S1 were the same race as the subjects, otherwise, the “out-group recommended logos”.The results revealed that the race of the brand-logo recommender highly impacted the Chinese subjects’ preference for the brand-logos. The N200 component elicited by in-group recommended logos were significantly lower than those elicited by out-group recommended logos. Besides, there was evidence that being familiar with foreign cultures reduces consumer ethnocentrism. The African subjects were familiar with Chinese people and adopted Chinese culture, as a result, they did not differ in showing preferences between in-group and out-group recommended logos. (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)

Can static pictures depict motion and temporal properties? This is an open question that is becoming increasingly discussed in both aesthetics and the philosophy of mind. Theorists working on this issue have mainly focused on static pictures of dynamic scenes and streaky images – such as futurists’ paintings or long-exposure photographs. And yet, we could ask: if there is some success in creating an illusory impression of movement in a static image - as is the case in optical illusions (...) of movement, such as Bridget Riley’s Fall (1963: Tate, London), or Kitaoka’s Rotating Snakes Illusion - is this to say that such static images depict movement? As far as I know, no one working on the depiction of motion has specifically and systematically tackled motion-based illusions nor tried to answer this question. This paper considers two cases of optical illusions of movement and concludes that one of them is involved in the depiction of movement. While the declared goal of my analysis is to answer a quite circumscribed question, it is also the occasion to tackle motion-based illusions tout court - to account for the complex visual experiences they elicit and related phenomenology. Moreover, this account has interesting consequences for theorizing depiction and pictorial experience in general. In particular, it constitutes a counterexample to resemblance theories of depiction. (shrink)

When Werner Herzog states, in his famous Minnesota Declaration, “[fa]cts create norms, and truth illumination”, he not only opposes his own idea of truth as spiritual experience to the notion of factual truth based on a seemingly unmediated representation of reality and purely rational principles. He also points to a societal problem inherent to such hegemonic attributions of veracity as advocated by the representatives of what he calls “Cinema Vérité”: their “truth of accountants” generates a normative perception and understanding of (...) reality. Instead of producing peculiar images that trigger the imagination, they (re)produce benchmarks, fixed values and stereotypes. Thus, they are perfectly in line with the ideology of the “administered society” (Horkheimer and Adorno, e.g. in Dialectic of Enlightenment). Based on the identity principle, this society produces standardized, consumer-friendly forms precluding the individuals from making their own, singular experiences. Films that rely purely on facts instead of seeking for “deeper strata of truth” are thus, for Herzog, not only boring, but also instruments of domination in the service of the status quo. However, Herzog neither avoids the administered society in order to search for an archaic truth beyond or underneath it, nor does he address political issues frontally in the films analyzed in this article. Critique of society rather transpires through particular configurations, notably in moments of confrontation between the “normal” society and the marginalized, “useless”, or otherwise rejected characters (as Kaspar Hauser’s encounter with representatives of the “good society, Strozeck’s misfortune, Woyzeck’s condition as the guinea pig for the sake of scientific progress, or the extravagant setting depicted in Even Dwarfs Started Small). Rather than focusing on the problematic situation of exclusion as such, Herzog emphasizes the very singularity of his protagonists in a dialectical tension with their environment, thus providing an access to the poetic truth which springs out of their individual ways of experiencing as opposed to the normative reality-principle. This is also true for many of Herzog’s documentaries: for example, Walter Steiner’s deep pleasure in ski-flying and the strange beauty of the slow-motion pictures showing him in the air highly contrast with the public pushing him to take dangerous risks and the bloody images presented in the media (The Great Ecstasy of the Woodcarver Steiner). By juxtaposing Steiner’s sensory experience and its singularized image with the societal logic of competition and its stereotyped representation, Herzog discloses the heterogeneous layers of a material truth that escapes factual accuracy. This article aims to approach Herzog’s notion of ecstatic truth by unfolding the dialectical tension between sensory, perceptual and spiritual experiences on the one hand, and the administrated society on the other. -/- . (shrink)

Interest in the relationship between race and the expanded reproduction of capitalism has exploded across the social sciences and humanities over the past several years. Despite this widespread appreciation and interest, profound disagreement, debate, and analytical impression persists, not least regarding the relationship between race and the necessary ‘laws of motion’ of capitalist society. This article begins by tracing the core approaches to the race and capitalism conversation, paying particular attention to their understanding of the necessity/contingency (...) distinction. It then proceeds to make the case for race as a contingent – which, emphatically, does not mean local or insignificant – relatively autonomous, and historically path-dependent terrain of struggle in capitalist society, which has largely functioned to maintain capital’s necessary disequilibrium between the value form and its value relations, but need not do so. It closes by exploring the implications of this claim in relation to recent historical-geographical research on post-1898 US imperialism. (shrink)

In Cinematic Political Thought , Michael J. Shapiro investigates aspects of contemporary politics and articulates a critical philosophical perspective with politically disposed treatments of contemporary cinema. Reading such films as Hoop Dreams, Lone Star, Father of the Bride II and To Live and Die in LA through the lens of Deleuze, Derrida, Foucault and Lyotard, Shapiro demonstrates what it can mean to think the political both in terms of cinema studies and in wider aesthetic and social contexts. Cinematic Political Thought (...) is a polemical work, aimed at encouraging critical, ethical and political thinking. Its breadth of theoretical scope and empirical reference, and the innovative style of presentation will make it vital reading for anyone with an interest in the conjunction of culture and politics. (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)

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...) presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)

The most important question concerning picture perception is: what perceptual state are we in when we see an object in a picture? In order to answer this question, philosophers have used the results of the two visual systems model, according to which our visual system can be divided into two streams, a ventral stream for object recognition, allowing one to perceive from an allocentric frame of reference, and a dorsal stream for visually guided motor interaction, thus allowing one to perceive (...) from an egocentric frame of reference. Following this model, philosophers denied that we can be in a dorsal perceptual state when perceiving a depicted object. This is because a depicted object is not physically graspable or manipulable and, in turn, it cannot be egocentrically localized, as a normal object, by the dorsal stream. Thus, the impossibility of manipulating depicted objects and of localizing them from an egocentric frame of reference has led some people to be sceptical about the possibility of a representation of action properties in the perception of objects in pictures, which pertains to the dorsal visual system. The aim of the present paper is to show that it is possible for the depicted object to be represented by dorsal perception. That means that we can ascribe action properties to depicted objects as well, even if depicted objects cannot be egocentrically localized—at least, not as much as normal objects can. (shrink)

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, (...) toward, or away from the viewer) were presented as probe stimuli. The varying coherence of these IM stimuli was manipulated by changing the percentage of pictures implying movement in one direction. Participants were required to judge whether the duration of probe stimulus was more similar to the long or short pre-presented standard duration. As predicted, the point of subjective equality was significantly modulated by the varying coherence of the IM stimuli, but not for no-IM stimuli. This finding suggests that coherence level might be a key mediating factor for perceived duration of IM images, and top-down perceptual stream from inferred motion could influence subjective experience of time perception. (shrink)

This collection fills a gap in the current literature in philosophy and film by focusing on the question: How would thinking in philosophy and film be transformed if race were formally incorporated moved from its margins to the center? The collection’s contributors anchor their discussions of race through considerations of specific films and television series, which serve as illustrative examples from which the essays’ theorizations are drawn. Inclusive and current in its selection of films and genres, the collection (...) incorporates dramas, comedies, horror, and science fiction films into its discussions, as well as recent and popular titles of interest, such as _Twilight_, _Avatar_, _Machete_, _True Blood_, and _The Matrix _and _The Help_. The essays compel readers to think more deeply about the films they have seen and their experiences of these narratives. (shrink)

In recent years, postgenomic research, and the fields of epigenetics and microbiome science in particular, have described novel ways in which social processes of racialization can become embodied and result in physiological and health-related racial difference. This new conception of biosocial race has important implications for philosophical debates on the ontology of race. We argue that postgenomic research on race exhibits two key biases in the way that racial schemas are deployed. Firstly, although the ‘new biosocial (...) class='Hi'>race’ has been characterized as social race entering into biological processes, it is only particular aspects of social race that are taken to cross the biosocial boundary, resulting in a distorted view of the social component of biosocial race. Secondly, racial categories are assumed to be stable across time and space. This assumption is epistemically limiting, as well as indicating a reliance on a fixed racial ontology. However, the causal pathways for the embodiment of social race, and the different possible modes of embodiment, that postgenomic science is uncovering themselves present a challenge for fixed or static racial ontologies. Given these tensions, we argue that the emerging picture of a shifting landscape of entanglement between the social and the biological requires us to increase the complexity of our ontologies of race, or even embrace a deflationary metaphysics of race. (shrink)

In this book, Richard Dien Winfield builds upon Hegel’s Aesthetics to provide a comprehensive and systematic analysis of the individual fine arts, which remedies Hegel's inconsistencies and major omissions. In addition to conceiving the general aesthetics and particular stylistic forms of architecture, sculpture, painting, music, and literature, Winfield determines the fundamental character of the new arts of photography and cinema that the master thinkers of aesthetics never had the opportunity to consider. Winfield’s analysis covers a wide-ranging array of artistic creations (...) from diverse periods and cultures, while engaging in debate with the most important aesthetic theorists of the past and present. (shrink)

Usain Bolt’s Lightning Bolt pose, one arm highly extended to one side, suggests action. Likewise, static pictures of animals, legs extended, show animation. We tested a new cue for motion perception—extension—and in particular extension of dancer’s legs. An experiment with pictures of a dancer finds larger angles between the legs suggest greater movement, especially with in-air poses and in lateral views. Leg positions graded from simply standing to very difficult front and side splits. Liking ratings were more related to (...) Difficulty ratings than Movement ratings. (shrink)

Reading fiction for pleasurable is robustly correlated with improved cognitive attainment and other benefits. It is also in decline among young people in developed nations, in part because of competition from moving image fiction. We review existing research on the differences between reading/hearing verbal fiction and watching moving image fiction, as well as looking more broadly at research on image/text interactions and visual versus verbal processing. We conclude that verbal narrative generates more diverse responses than moving image narrative., We note (...) that reading and viewing narrative are different tasks, with different cognitive loads. Viewing moving image narrative mostly involves visual processing with some working memory engagement, whereas reading narrative involves verbal processing, visual imagery and personal memory (Xu et al 2005). but Attempts to compare the two by creating suggest that existing research is flawed by attempts to create equivalent stimuli and task demands face a number of challenges, and we discuss these difficulties in comparative approaches. We then investigate the possibility of identifying lower level processing mechanisms that might distinguish cognition of the two media, and propose a focus on internal scene construction and on working memory as foci for future research. Although many of the sources we draw on are focussed on English speaking participants in European or North American settings, we also cover material relating to speakers of Dutch, German, Hebrew and Japanese in their respective countries, and studies of a remote Turkish mountain community. (shrink)

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 (...) dance and poetry, and in "A Moving Picture Giving and Taking Book" provides a manual for the novice filmmaker. Lectures, interviews, essays, and manifestos document Brakhage's personal vision and public persona. (shrink)

Lorimer Douglas, Science, Race Relations, and Resistance: Britain, 1870–1914. Manchester: Manchester University Press, 2013. Studies in Imperialism series. xii + 344pp. ISBN 9780719033575.

For many years to come, race will continue to be a source of controversy and conflict in American society. For many of us it will continue to shape where we live, pray, go to school, and socialize. We cannot simply wish away the existence of race or racism, but we can take steps to lessen the ways in which the categories trap and confine us. Educators, who should be committed to helping young people realize their intellectual potential as (...) they make their way toward adulthood, have a responsibility to help them find ways to expand identities related to race so that they can experience the fullest possibility of all that they may become. In this brutally honest—yet ultimately hopeful— book Pedro Noguera examines the many facets of race in schools and society and reveals what it will take to improve outcomes for all students. From achievement gaps to immigration, Noguera offers a rich and compelling picture of a complex issue that affects all of us. (shrink)

This volume considers the numerous philosophical ideas and arguments found in and inspired by the critically acclaimed series Breaking Bad. This show garnered both critical and popular attention for its portrayal of a cancer-stricken, middle-aged, middle-class, high school chemistry teacher’s drift into the dark world of selling methamphetamine to support his family. Its characters, situations, and aesthetic raise serious and familiar philosophical issues, especially related to ethics and morality. The show provokes a bevy of rich questions and discussion points, such (...) as: What are the ethical issues surrounding drugs? What lessons about existentialism and fatalism does the show present? How does the show grapple with the concept of the end ‘justifying’ the means? Is Walt really free not to ‘break bad’? Can he be redeemed? What is the definition and nature of badness itself? Contributors address these and other questions as they dissect the legacy of the show and discuss its contributions to philosophical conversations. (shrink)

Just Images: Ethics and the Cinematic charts current developments within the field of ethics and the role it plays in the study of moving images. It is the first collection of essays of its kind that brings together articles by film and media scholars from three continents, and provides multiple points of engagement of film with present and past histories, politics, myth making, and with core aspects of human subjectivity. The essays cover a wide range of topics, such as the (...) European Union; Europe during World War II and after; film genres; the Israeli-Palestinian conflict; early American history, and recent catastrophic events. The collection includes an introductory chapter by Thomas Elsaesser as well as chapters by Kristian Feigelson, Règine-Mihal Friedman, Nurith Gertz and Gal Hermoni, Anton Kaes, Gertrud Koch, Odeya Kohen-Raz, Lihi Nagler, Judd Ne'eman, Bill Nichols, and Janet Walker. The contributors offer different approaches to the issue of film and ethics and ask whether there are specific characteristics of the moving image, or of film scholarship, that relate to ethical issues; and how discussing the engagement of both narrative and documentary film with representations of the Other, trauma, terrorism, the Holocaust, and the Palestinian-Israeli conflict may contribute to the re-shaping of past and current thoughts on these subjects. (shrink)

For many years to come, race will continue to be a source of controversy and conflict in American society. For many of us it will continue to shape where we live, pray, go to school, and socialize. We cannot simply wish away the existence of race or racism, but we can take steps to lessen the ways in which the categories trap and confine us. Educators, who should be committed to helping young people realize their intellectual potential as (...) they make their way toward adulthood, have a responsibility to help them find ways to expand identities related to race so that they can experience the fullest possibility of all that they may become. In this brutally honest—yet ultimately hopeful— book Pedro Noguera examines the many facets of race in schools and society and reveals what it will take to improve outcomes for all students. From achievement gaps to immigration, Noguera offers a rich and compelling picture of a complex issue that affects all of us. (shrink)

In this essay I explore efforts at regulating race-related speech on publicly funded colleges and universities. In the first section, I present the scope of the current debate about the topic: what speech is, contexts in which it is found, etc. In the second section, I present the case for unrestricted speech on campuses for the advancement of knowledge and social progress. The third section addresses standard problem cases for free speech like the non-scientific nature of racist epithets, existential (...) threats to the university, and involuntary exposure to racist speech. The fourth section explores arguments for regulating speech coming from critical race theorists and those who question the cultural narrative surrounding speech these days. In the fifth section, I lay bare the irreconcilable incompatibilities of free speech proponents and advocates of speech restrictions in several areas. The conclusion points the way forward toward by calling attention to the lingering questions about the values of knowledge and social progress. (shrink)

ABSTRACT The shifting dynamics of racial domination across historical contexts present a problem for critical philosophy of race. Much of the literature has focused on answering the question of “What is race?” as the solution to the problem of dynamic variability. In what follows, this article proposes that a better solution should begin with answering the question “What must the world be like for race to shift appearances across contexts?” Answering the latter question recapitulates the classic tension (...) between appearance and reality. A core feature of racial domination is that it abstracts from social relations by presenting them as natural. Drawing on the tradition of critical theory from Karl Marx to Roy Bhaskar, this article argues that the task of critical philosophy of race is primarily explanatory rather than moral. The wrongness of racial domination follows from the critical elucidation of how a given society systemically induces the misrecognition of social conditions and thus blocks the realization of emancipatory agency. By presenting a clearer picture of what the world is like, critical philosophy of race can better aid our capacity for self-emancipation. (shrink)

This interdisciplinary work provides the conditions for the possibility of rethinking the foundations of hermeneutics in relation to postmodern concerns regarding the political and the aesthetic, and makes a major contribution to a new philosophy of film and post-Heideggerian thought.

By emphasizing the parallels between both racial vilification and the vilification that takes place when we discuss abortion in our society, I hope to provide a new perspective on the way the United States converses about this divisive issue. This perspective, in turn, can help us see how we can move forward from the stagnate polemics that have permeated the abortion debate in the United States for the past 40 years.

This article examines how the formation of markets in bottled water has relied on assembling a particular subject: the subject of hydration. The discourse of hydration is a conspicuous feature of efforts to market bottled water, allowing companies to appeal to scientifically framed principles and ideas of health in order to position the product as an essential component in self-health and healthy lifestyles. Alongside related principles, such as the ‘8 × 8 rule’, hydration has done much to establish new practices (...) of water drinking and consumption in which the consumer appears to be always at risk of dehydration and must engage in practices of ‘frequent sipping’. This article traces the emergence of the concept of hydration from its origins in exercise science and explores its circulation, contemporary uses and purchase. I argue that the appeal to biomedical languages and concepts found in the discourse of hydration connects with much broader ways of conceiving and acting upon the self that have become prevalent in contemporary society – what Rose and Novas call ‘biological citizenship’ – indicating how the ensemble of hydration participates in wider-ranging transformations in forms of rule. The story of hydration reveals how biomedical techniques of the self can be made to double up as ‘market devices’ by offering specific procedures for assessing the self and calculating the body’s needs. In order to grasp these developments, I position the health sciences, and health and fitness in particular, as a potent site of popular culture in which bodies learn to be affected by the procedures of scientific experiment. A critical grasp of this context is best enabled, I argue, by situating the producers and consumers of scientific principles and commercial products as embodied and looking at their interconnection in processes of emergence. Through these means, we can begin to develop a fully materialized account of the question: how have we become so thirsty? (shrink)

While some film theorists and philosophers have seen motion as a necessary element of cinema, this view is challenged by a body of avant-garde films which offer little or no movement. These experiments—by film-makers such as Andy Warhol, Larry Gottheim, and Michael Snow—challenge essentialist definitions of film, while simultaneously foregrounding the crucial role played by duration in cinema’s ontology.

his article develops a framework for addressing racial ontologies in transnational perspective. In contrast to simple contextualist accounts, it is argued that a globally engaged metaphysics of race needs to address transnational continuities of racial ontologies. In contrast to unificationist accounts that aim for one globally unified ontology, it is argued that questions about the nature and reality of race do not always have the same answers across national contexts. In order address racial ontologies in global perspective, the (...) article develops a framework that accounts for both continuities and discontinuities by looking beyond the referents of narrowly defined core concepts. By shifting the focus from narrow concepts to richer conceptions of race, racial ontologies become comparable through globally related but nonetheless distinct mappings between conceptions and property relations. The article concludes by showing how this framework can generate novel insights in case studies from Asia, Europe, and Latin America. (shrink)

Providing an alternative to pyschoanalytically based descriptions, this major study presents a unique, new theoretical account of the way emotions and thought patterns interact in creating aesthetic effects in films. Using diverse examples, Torben Grodal shows how films activate effects in the viewer and how these effects are moulded by genres which determine the way in which characters will react in given situations.

Many studies require standardized and replicable protocols composed of emotional stimuli. To this aim, several databases of emotional pictures are available. However, there are only few images directly depicting interpersonal violence, which is a specific emotion evocative stimulus for research on aggressive behavior or post-traumatic stress disorder. The objective of the current study is to provide a new set of standardized stimuli containing images depicting interpersonal situations. This will allow a sensitive assessment of a wide range of cognitions linked to (...) social interaction. To this aim, 240 participants rated the valence and arousal of 79 pictures collected from online sources in 2018. Results showed a distinctive pattern of valence and arousal regarding the picture content and specific associations between those two dimensions. Taken together, these results suggest a good reliability of the selected images. In conclusion, our study provides an open access set of recent pictures depicting interpersonal situations along with normative valence and arousal ratings, that are available for download from: https://osf.io/ak4m7/?view_only=None. (shrink)

This article develops a framework for addressing racial ontologies in transnational perspective. In contrast to simple contextualist accounts, it is argued that a globally engaged metaphysics of race needs to address transnational continuities of racial ontologies. In contrast to unificationist accounts that aim for one globally unified ontology, it is argued that questions about the nature and reality of race do not always have the same answers across national contexts. In order address racial ontologies in global perspective, the (...) article develops a framework that accounts for both continuities and discontinuities by looking beyond the referents of narrowly defined core concepts. By shifting the focus from narrow concepts to richer conceptions of race, racial ontologies become comparable through globally related but nonetheless distinct mappings between conceptions and property relations. The article concludes by showing how this framework can generate novel insights in case studies from Asia, Europe, and Latin America. (shrink)

Analysing film. Distinguishing the filmic contribution to meaning -- Examples of filmic "textual organisation" -- Redrawing boundaries -- Organisation of the book -- Semiotics and documents. Semiotics and its relations to film -- The nature of discourse semantics -- The film as cinematographic document -- A combined view: filmic documents for filmic discourse -- Constructing the semiotic mode of film. Semiotic multimodality -- The internal organisation of semiotic strata -- Composing and combining semiotic modes -- Materiality and "epistemological commitment" (...) -- Christian Metz and the grande syntagmatique of the image track. The original model -- Two examples of analysis with the grande syntagmatique -- Revisions and rebuttals -- Foundations for analysis: filmic units. The basic units of film: preliminaries -- Audiovisual iconic representations -- Perception, perceptual realism and reliable measurement -- Multiplicity: from perception to discourse -- Filmic units revisited: discourse-motivated definitions -- The paradigmatic organisation of film. Beyond Metz: towards a grande paradigmatique -- Capturing discourse dependency structures in film -- The paradigmatic dimensions of projection, taxis and plane -- Two examples of paradigmatic analysis -- Summary and conclusions. (shrink)

Most studies of No-Excuses charter schools are distributive in nature. They answer a question of distributive justice: do these schools adequately close the academic achievement gap that exists in America between white and Black or Hispanic students? When discussion of No-Excuses schools is limited to their distributive worth, critics of No-Excuses schools are trapped. Are they really against high academic achievement, supporters of No-Excuses schools might say. This analysis seeks to escape this trap by proposing and doing an analysis of (...) No-Excuses schools using relational justice. A turn to relational justice recognizes other educational goods schools might deliver to their students. By focusing on relational justice, the author moves the debate over No-Excuses schools into a register in which both their supporters and their opponents can work toward common aims. The author uses Anthony Laden’s relational justice to analyze No-Excuses discourse and practice and then offers recommendations to both No-Excuses schools and education theorists. (shrink)