Film-Philosophy
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Realism, Dream, and 'Strangeness' in Andrei Tarkovsky
No full textAt the centre of theories of film form is the idea that the montage of different scenes produces cinematic time. Montage creates a conflict between different shots, and time (as a purely functional relationship between shots) arises out of montage as an abstract element
Introducing Avant-Garde Film, on Michael O'Pray Avant-Garde Film: Forms, Themes and Passions
No full textMichael O'Pray _Avant-Garde Film: Forms, Themes and Passions_ London and New York: Wallflower, 2003 ISBN 1 903364 56 6 136 pp
Hungarian Rhapsody, on John Cunningham's Hungarian Cinema: From Coffee House to Multiplex
No full textJohn Cunningham
_Hungarian Cinema: From Coffee House to Multiplex_
London and New York: Wallflower Press, 2004
ISBN 1-903364-79-5
xiii + 258pp
Reply To Mike Chopra-Gant
No full textMike Chopra-Gant
'Theorizing the Couple: On Nochimson's _Screen Couple Chemistry_'
_Film-Philosophy_, vol. 8 no. 44, December 20
Gestural Cinema?, on two texts by Giorgio Agamben, 'Notes on Gesture' (1992) and 'Difference and Repetition: On Guy Debord's Films' (1995)
No full textGilles Deleuze\'s two-volume theory of film, _Cinema 1: The Movement-Image_ and _Cinema 2: The Time-Image_, have slowly been making an impact on Anglo-American film studies. The special issue of _Film-Philosophy_ on his work (vol. 5, 2001) and David Rodowick\'s excellent introduction, _Gilles Deleuze\'s Time Machine_ (1997), are just two signs, among many, of the growing interest in Deleuze\'s writings on cinema. His work has also inspired the Italian philosopher Giorgio Agamben to propose a new theory of film that significantly departs from Deleuze. Agamben has developed a new theory of \'gestural cinema\', arguing that \'*the element of cinema is gesture and not image*\'. [1] He has also argued that this new theory of gestural cinema means that cinema belongs, essentially, to the realm of ethics and politics, and not aesthetics. It is this new theory that I want to introduce
Adaptation, 'Adaptation', and Adaptation: Zizek and the Commonplace
No full text_Adaptation_ is the film this article is about. The rules of electronic articles require that it be quoted with underscores. \'Adaptation\' is the subject and title of this articleand so should be indicated with inverted commas. Adaptation, without underlining and without quotation marks, is just adaptation, the thing itself. And here comes the question: what is Real Thing Itself? _Adaptation_ addresses the question of what the real, the primary, is, and its relation with that which is secondary -- with the many interpretations, versions, understandings, adaptation
Cognitivism: Use it or Lose it, on Film Style and Story: A Tribute to Torben Grodal, edited by Lennard Hojbjerg and Peter Schepelern
No full text_Film Style and Story: A Tribute to Torben Grodal_
Edited by Lennard Hojbjerg and Peter Schepelern
Copenhagen, Denmark: Museum Tusculanum Press, University of Copenhagen, 2003)
ISBN 87-7289-851-8
252 pp
Disciplining Marnie, on Tony Lee Moral Hitchcock and the Making of Marnie
No full textTony Lee Moral
_Hitchcock and the Making of Marnie_
Manchester: Manchester University Press, 2002
ISBN 0719064821
215 pp
Rereading the British Social Realist Film, on Samantha Lay British Social Realism: From Documentary to Brit-Grit
No full textSamantha Lay
_British Social Realism: From Documentary to Brit-Grit_
London: Wallflower Press, 2002
ISBN 1-903364-41-8
144 pp
A Deceptively Slender Volume, on Nathaniel Dorsky Devotional Cinema
No full textNathaniel Dorsky
_Devotional Cinema_
Berkeley, California: Tuumba Press, 2003
ISBN 1-931157-05-07
52 pp