Film-Philosophy
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The Appropriational Fallacy: Grand Theories and the Neglect of Film Form
No full textIf the title of this article resounds with the polemical palavering of literary theory in the 1940s, I have to submit that the allusion is not entirely accidental. It is not my intention here, however, to resuscitate the arguments of W. K. Wimsatt Jr and Monroe C. Beardsley, but rather to evoke a sense of parallelism between their issues and those at stake here. A crucial objective which informed Wimsatt\'s and Beardsley\'s project was to buttress the significance and irreducibility of the literary text in the face of monopolistic authorial and receptional meaning-making. [3] The scholarly environment that was American New Criticism tended to consider intentionalism and emotionalism as threats to the epistemological prominence and integrity of the text, which was all too readily lost in a plenitude of contexts whose relevance for the literary work was not always impressively transparent. Similarly, within the domain of film studies, it has perhaps become increasingly unclear whether the real object of study is the film text itself, or rather a concatenation of different disciplinary discourses hailing from departments of psychology, sociology, and biology (to name a few). The colonization of cinema studies is not a novel development; as a process its apogee was in the 1970s
Reply to Bleasdale
No full textJohn Bleasdale
\'The Unrealistic Rossellini\'
_Film-Philosophy_, vol. 6 no. 34, October 200
Impassioned Aesthetics: Seeing Sound and Hearing Images in Michel Chion\'s Audio-Vision
No full textMichel Chion _Audio-Vision: Sound on Screen_ Translated by Claudia Gorbman Foreword by Walter Murch New York: Columbia University Press, 1994 ISBN 0-231-0799-4 pbk Xxiv + 239 pp
Senses of Time Evoked by Artistic Images
No full text_Time and the Image_
Edited by Carolyn Bailey Gill
Manchester: Manchester University Press, 2000
ISBN 07190 58139 (hb) 07190 58147 (pb)
221 p
Technology and the Image
No full text_Screen-Based Art_
Edited by Annette W. Balkema and Henk Slager
Series of Philosophy of Art and Art Theory
_Lier en Boog_, vol. 15, 2000
ISBN 90-420-0801-6
192 pp
Intersecting Identities
No full textLieve Spaas
_The Francophone Film: A Struggle for Identity_
Manchester and New York: Manchester University Press/St Martins Press, 2000
ISBN 0-7190-5861-9
xiii + 290 pp
The Unrealistic Rossellini
No full textTag Gallagher
_The Adventures of Roberto Rossellini: His Life and Films_
New York: Da Capo Press, 1998
ISBN 0306808730
802 pp
The Defence of Extreme Realities
No full textRex Butler
_Jean Baudrillard: The Defense of the Real_
London and New Delhi: Sage Publications and Thousand Oaks, 1999
ISBN 0-7619-5833-9
vii + 181 pp
Michel Chion's Blessing in Disguise
No full textMichel Chion _The Voice in Cinema_ trans. Claudia Gorbman New York: Columbia University Press, 1999 ISBN 0-231-10822-2 (alk.paper) ISBN 0-231-10823-0 (pbk) 183 pp
Is Cinema Renewing Itself?
No full textJean-Luc Nancy
_L\'Evidence du film: Abbas Kiarostami_
Brussels: Yves Gevaert Editeur, 2001
ISBN: 2-930128-17-8
181 pp