Film-Philosophy
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Irving Singer's Reality Revisited, on Three Philosophical Filmmakers: Hitchcock, Welles and Renoir
No full textIrving Singer
_Three Philosophical Filmmakers: Hitchcock, Welles and Renoir_
Cambridge, Mass.: The MIT Press, 2004
ISBN 0-262-19501-1
279 pp
Lollywood Adventures, on Robert Blanchet's Blockbuster: Aesthetik, Oekonomie und Geschichte des Postklassischen Hollywoodkinos
No full textRobert Blanchet
_Blockbuster: Aesthetik, Oekonomie und Geschichte des Postklassischen Hollywoodkinos_
Marburg: Schueren Verlag, 2003
ISBN 3-89472-342-4
271 pp
Antonioni's Blowup: Freeing the Imaginary from Metaphysical Ground
No full textAntonioni's approach to filmmaking provides a clear example of philosopher Wilhelm Wurzer's notion of *filming*, a term Wurzer uses neither to signify the specific practice of filmmaking, nor in the sense of a 'quantitative proliferation of images' that carry out the calculative and productivist goals of the visual in a technocratic society. [1] *Filming* denotes, among other things, 'an imaginal mode of discerning which releases the imagination toward radical disinterestedness . . . imagination's fall from the principle of *telos*', and the possibility of representation being 'free of the explicit dominance of subjectivity'. [2] In this discussion I would like to examine a few scenes from Antonioni's _Blowup_ (1966) that consistently enact the representational features just mentioned. By radically deconstructing notions of illusion no less than those of reality, Antonioni ultimately demonstrates that the psychoanalytic notion of the imaginary -- adopted by Christian Metz and others, and based on the persistent opposition reality/illusion -- is no less implicated in a metaphysical dynamics of presence than any naive notions of realism
Love and Catastrophe: Filming the Sublime in Hiroshima Mon Amour
No full textFilm-Philosophy
International Salon-Journal (ISSN 1466-4615)
Vol. 9 No. 38, July 2005
Reni Celeste
Love and Catastrophe:
Filming the Sublime in _Hiroshima Mon Amour_ [1]
This essay studies two scenes from Alain Resnais's film _Hirsoshima Mon Amour_ (1959) alongside the concept of the sublime in order to take film from a discussion of desire to one of love. Love is understood, according to philosopher Emmanuel Levinas's description, as an infinite alterity, rather than as totality or unity. Though Levinas insists on a separation between love and tragedy, and argues that the work of art cannot achieve the ethical, I argue that Resnais's film expresses a sublime achievement by staging, or representing, the infinite tragically through failure and betrayal
The Measure of Cinema?: Per Persson's Understanding Cinema
No full textPer Persson
_Understanding Cinema: A Psychological Theory of Moving Imagery_
Cambridge: Cambridge University Press, 2003
ISBN 0-521-81328-X
52 illustrations, 281 pp
Potential Not To Be: Bersani and Dutoit's Forms of Being
No full textLeo Bersani and Ulysse Dutoit
_Forms of Being: Cinema, Aesthetics, Subjectivity_
London: British Film Institute, 2004
ISBN 1844570150
185 p
Apocalypse Too Soon, on Wheeler Winston Dixon's Visions of the Apocalypse: Spectacles of Destruction in American Culture
No full textWheeler Winston Dixon
_Visions of the Apocalypse: Spectacles of Destruction in American Culture_
London: Wallflower Press, 2003
ISBN 1-903364-74-4
169 pp
Analogue Film, Digital Discourse, on Sean Cubitt’s The Cinema Effect
No full textSean Cubitt
_The Cinema Effect_
Cambridge, Massachusetts: MIT Press, 2004
ISBN 0-262-03312-7
456 pp
Reply to Richard Misek
No full textRichard Misek
'Analogue Film, Digital Discourse: Sean Cubitt's _The Cinema Effect_'
_Film-Philosophy_, vol. 9 no. 29, May 200
Cities of Words, Cities of Cinema: Stanley Cavell's City of Words
No full textStanley Cavell
_Cities of Words: Pedagogical Letters on a Register of the Moral Life _
London and Cambridge, Mass: Harvard University Press, 2004
ISBN 0-674-01336-0
458 pp