Results for ' cinema language'

970 found
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  1. Classic debates. The cinema : language or language system?Christian Metz - 2010 - In Marc Furstenau, The film theory reader: debates and arguments. New York: Routledge.
     
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  2. Film language: a semiotics of the cinema.Christian Metz - 1968/1991 - Chicago: University of Chicago Press.
    A pioneer in the field, Christian Metz applies insights of structural linguistics to the language of film. "The semiology of film . . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinema: langue ou langage?'"--Geoffrey Nowell-Smith, Times Literary Supplement "Modern film theory begins with Metz."--Constance Penley, coeditor of Camera Obscura "Any consideration of semiology in relation to the particular field signifying practice of film passes inevitably through a (...)
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  3. Cinema and Language.Dina Dreyfus & H. Kaal - 1961 - Diogenes 9 (35):23-33.
    This study does not claim to be an exhaustive critique of the contemporary cinema, whose abundance and diversity defies any attempt to unify it. It has no other purpose than to clarify the underlying meanings of certain productions which are typical of the medium (as for example, L'Avventura by Antonioni and A bout de souffle by Jean-Luc Godard), and to show that the “learned” cinema, that is, the cinema conscious of the ends pursued and the means employed, (...)
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  4.  64
    The Time-Image: Deleuze, Cinema, and Perhaps Language.Thomas Carl Wall - 2004 - Film-Philosophy 8 (2).
    I. Cinema equals Language II. _Vertigo_ III. _Maborosi_ IV. Sound, Mood, and Depth V. Sense Intensified.
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  5.  35
    The Context for Reproducing Knowledge, on Colin MacCabe The Eloquence of the Vulgar: Language, Cinema and the Politics of Culture.Daniel Keyes - 2003 - Film-Philosophy 7 (1).
    Colin MacCabe _The Eloquence of the Vulgar: Language, Cinema and the Politics of Culture_ London: British Film Institute, 1999 ISBN 0-85170-677-0 184 pp.
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  6.  21
    Cinema no abrigo.Fernanda Walter Omelczuk & Giovana Scareli - 2021 - Educação E Filosofia 34 (72):1235-1252.
    Cinema no abrigo: encontros, gestos e acontecimento Resumo: Este texto é fruto de reflexões sobre nossa vivência com o Projeto de Extensão “Educação, Cinema, Outros Territórios” no Lar de Idosos ‘Abrigo Tiradentes’, em Minas Gerais. Um objetivo específico do Projeto é realizar sessões de cinema junto aos idosos em diferentes territórios. A metodologia e a avaliação das ações são compreendidas como um gesto de acompanhamento do Programa de Extensão, amparado na investigação cartográfica, prática metodológica pertinente para o (...)
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  7. The evolution of the language of cinema.André Bazin - 2010 - In Marc Furstenau, The film theory reader: debates and arguments. New York: Routledge.
     
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  8.  26
    Language, Ideology, and the Human: New Interventions.Sanja Bahun - 2012 - Ashgate Pub. Co.. Edited by Dušan Radunović.
    Language, Ideology, and the Human: New Interventions redefines the critical picture of language as a system of signs and ideological tropes inextricably linked to human existence. Offering reflections on the status, discursive possibilities, and political, ideological and practical uses of oral or written word in both contemporary society and the work of previous thinkers, this book traverses South African courts, British clinics, language schools in East Timor, prison cells, cinemas, literary criticism textbooks and philosophical treatises in order (...)
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  9.  13
    Interplay in Cinema’s Symbolic Process: Metaphor and Metonymy in the Language of Film.Jose Sanjines - forthcoming - Semiotics:37-56.
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  10.  26
    Entrando al cinema. Il ritmo come segreto del mondo.Gianluca Solla - 2019 - Chiasmi International 21:239-251.
    Nella conferenza su Le cinéma et la nouvelle psychologie Merleau-Ponty introduce una singolare, ma decisiva notazione sull’arte filmica, legandola alla nozione di “ritmo”. Tale nozione dà avvio a una riflessione sull’immagine e sul rapporto tra l’immagine e lo sguardo dello spettatore al cinema. Nel presente articolo, l’uso che Merleau-Ponty ne fa e il senso di questa operazione saranno letti in riferimento alla riflessione di Émile Benveniste sul ritmo e ad alcune annotazioni contenute nei corsi di Merleau-Ponty al Collège de (...)
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  11.  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 (...)
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  12.  9
    Describing cinema.Timothy Corrigan - 2024 - New York, NY: Oxford University Press.
    Describing Cinema is part theory, part rhetoric, and part pedagogy. It examines and demonstrates acts of describing scenes, shots, and sequences in films, as probably the most common and the most underestimated way viewers respond to movies. Practiced energetically and carefully, descriptions become exceptionally rich ways to demonstrate and celebrate the activities, varieties, and challenges of a central generative movement in the viewing and interpretation of films. My motto might be an inversion of one character's tongue-in-cheek remark in Jean-Luc (...)
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  13.  73
    Through the Looking Glass: Women, Cinema, and Language.Teresa De Lauretis - 2003 - In Ann J. Cahill & Jennifer Hansen, The Continental Feminism Reader. Rowman & Littlefield.
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  14.  48
    Following Pasolini: In Words, Photos, and Film, and his Perception of Cinema as Language.Annette Thorsen Vilslev - 2016 - Cultura 13 (2):77-82.
    Discussing the intercultural reception of Pier Paolo Pasolini, this article looks into the intercultural and medial crossovers of his person and his work. It shows the historical particularities of Pasolini's work, and it traces layers of intermedial references in his movie production, describing the many-layered intercultural interplay. Lastly, it focuses on the discussions of media relations, and the remedialisation inherent in much of Pasolini's work.
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  15.  9
    Contemporary cinema and ideology: neoliberal capitalism and its alternatives in filmmaking.Ewa Mazierska & Lars Lyngsgaard Fjord Kristensen (eds.) - 2018 - New York: Routledge.
    "In this edited collection, an international ensemble of scholars examine what contemporary cinema tells us about neoliberal capitalism and cinema, exploring whether filmmakers are able to imagine progressive alternatives under capitalist conditions. Individual contributions discuss filmmaking practices, film distribution, textual characteristics and the reception of films made in different parts of the world. They engage with topics such as class struggle, debt, multiculturalism and the effect of neoliberalism on love and sexual behaviour. Written in accessible, jargon-free language, (...)
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  16.  71
    Deleuze, cinema and the thought of the world.A. Thomas - unknown
    Gilles Deleuze tells us that philosophical problems ‘compelled’ him to look to the cinema for answers, but he doesn’t tell us what those problems are. In this thesis I argue that the problems in question turn on the foundational role that Henri Bergson’s critique of the cinematographic illusion plays in the development of Deleuze’s ontological conception of difference – specifically in his 1956 essay “Bergson’s Conception of Difference.” The consequence of Bergson’s characterisation of human thought, perception and language (...)
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  17.  18
    The Cinema as Thinking.Žarko Paić - 2020 - Filozofska Istrazivanja 40 (3):499-514.
    In Deleuzeʼs studies on film, it is striking that the dismantled “essence” of metaphysics as an ontology is synthetically linked with a new approach not only to the movement of the concept, speaking in Hegelʼs language but also to the thinking as an event. That is even more true for the understanding of that which lasts in time and thus has the character of the thought-image. As the author points out in this article, Deleuze establishes this by turning the (...)
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  18.  46
    Un cinéma hors de lui.Jean-Louis Comolli - 2006 - Multitudes 1 (1):203-207.
    Deligny’s thinking is a thought that tries to open, to open the words and make them come back to the gestures from which they perhaps emerged, and to which they no doubt refer. In order to say unheard-of things about cinema, Deligny had to forge a new language whose manifesto-term is camera-ing. What’s the use of cinema ? To see again in order to see, to redouble the system of repetition characteristic of the autistic children. What is (...)
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  19.  4
    (1 other version)The intervals of cinema.Jacques Rancière - 2014 - New York: Verso. Edited by John Howe.
    Cinema, like language, can be said to exist as a system of differences. In his latest book, acclaimed philosopher Jacques Rancière looks at cinematic art in comparison to its corollary forms in literature and theatre. From literature, he argues, cinema takes its narrative conventions, while at the same time effacing literature’s images and philosophy; and film rejects theatre, while also fulfilling theatre’s dream. Built on these contradictions, the cinema is the real, material space in which one (...)
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  20.  94
    Language and ontology.Kanti Lal Das & Anirban Mukherjee (eds.) - 2008 - New Delhi: Northern Book Centre.
    The book highlights the concept of ontology, relationship between language and ontology, the distinction between ontology and reality, the role of linguistic philosophers in dealing with ontology etc. Apart from these, the eminent scholars address themselves with the ontology behind the value of valuation, exclusion and discrimination, inter-religious dialogue, Indian theories of language, values in cinema, poetic language etc.
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  21.  26
    Where is the place for the thinking viewer in the cinema?Laura D'Olimpio - unknown
    Much of the current philosophy of film literature follows Walter Benjamin’s optimistic account and sees film as a vehicle for screening philosophical thought experiments, and offering new perspectives on issues that have relevance to everyday life. If these kinds of films allow for philosophical thinking, then they are like other so-called ‘high’ artworks in that they encourage social, political and economic critique of social norms. Yet, most popular films that are digested in large quantities are not of a high aesthetic (...)
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  22.  20
    L’écran du cinéma deleuzien, cerveau sans corps?Stanislas de Courville - 2022 - Chiasmi International 24:367-381.
    Building on Gilles Deleuze’s famous declaration that “the brain is the screen”, wholly emblematic of his thinking on cinema, this essay interrogates the place of the body within this thought in relation to Merleau-Pontyan-inspired critiques. My aim is to determine whether Deleuze offers a theory of the perceiving body in relation to spectatorial experience, despite the risk that it possibly imply a logical contradiction in the construction of the diptych on cinema. Indeed, the insistence of the body in (...)
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  23. Entre arquiteturas e imagens em movimento: cinemas, corporeidades e espectação cinematográfica na Tijuca.Talitha Ferraz - 2010 - Logos: Comuniação e Univerisdade 17 (1):43-55.
    Normal 0 21 false false false MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabela normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} This article examines the relationship between the architecture of street movie theaters that used to be found at Tijuca, neighborhood in the North of Rio de Janeiro, and the experiences of movie viewing by people who were frequent attendants of these movie theaters. The objective is (...)
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  24.  47
    Digital hermeneutics for the new age of cinema.Stacey O. Irwin - 2023 - AI and Society 38 (6):2207-2215.
    Philosophical and technoculture studies surrounding the existential understanding of the human–technology–world experience have seen a slow but steady increase that makes a turn to material hermeneutics in the second decade of the twenty-first century (Ihde in Postphenomenology: essays in the postmodern context. Northwestern University Press, Evanston, 1993; Capurro in AI Soc 25(1):35–42, 2010; Romele in Digital hermeneutics: philosophical investigations in new media and technologies. Routledge, Abingdon, 2020; among others). This renewed focus makes sense because human–technology–world experiences need to be interpreted. (...)
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  25. La theorie du cinema metaphorique et metonymique a la lumiere de la semiologie.Aleksander Jackiewicz - 1970 - In Algirdas Julien Greimas, Sign, language, culture. The Hague,: Mouton.
     
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  26.  24
    ‘We have come to be destroyed’: The ‘extraordinary’ child in science fiction cinema in early Cold War Britain.Laura Tisdall - 2021 - History of the Human Sciences 34 (5):8-31.
    Depictions of children in British science fiction and horror films in the early 1960s introduced a new but dominant trope: the ‘extraordinary’ child. Extraordinary children, I suggest, are disturbing because they violate expected developmental norms, drawing on discourses from both the ‘psy’ sciences and early neuroscience. This post-war trope has been considered by film and literature scholars in the past five years, but this existing work tends to present the extraordinary child as an American phenomenon, and links these depictions to (...)
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  27.  10
    Fra semiotica ed estetica: i primi contributi di semiologia del cinema di Metz.Alessandro Agostini - 2024 - Lebenswelt: Aesthetics and Philosophy of Experience 22.
    Christian Metz can rightfully be considered the founder of the semiology of cinema. This essay traces the supporting structures, and the problems connected to them, of this theoretical effort, starting first of all from the context that nourished it. The difficulties associated with both the construction of a general semiology and the use of its categories in cinema and artistic languages emerge.
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  28.  26
    Musical ‘Contact Zones’ in Gurinder Chadha’s Cinema.Serena Guarracino - 2009 - European Journal of Women's Studies 16 (4):373-390.
    This article explores strategies of cultural representation in the production of Gurinder Chadha, a British director of Sikh origin. Chadha’s work is located in what Marie Louise Pratt defines as ‘contact zones’, negotiating between US, European and Indian audiences. The result is a directing style that puts together ‘East’ and ‘West’, Bollywood and Hollywood, in an in-between space that has been radically reconfigured through hybridization. This happens in particular through her use of music and soundtrack, from the documentary I’m British (...)
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  29.  45
    The Language of New Media.Marjorie Perloff - 2003 - Common Knowledge 9 (1):157-158.
    Offering a theory of new media, this book places the recent developments within the history of visual culture of the last few centuries. The reliance on old conventions as well as ideas unique to new media are explored, with particular emphasis on the role of the cinema.
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  30.  24
    Visualizing thought at work. Review of Alyssa DeBlasio: The Filmmaker's philosopher - Merab Mamardashvili and Russian cinema: Edinburgh University Press, Edinburgh, 2019, 203 p, $75, Hardcover: ISBN 978-1-4744-4448-4.Elisa Pontini - 2020 - Studies in East European Thought 72 (2):191-194.
    Alyssa DeBlasio’s book The Filmmaker's philosopher - Merab Mamardashvili and Russian cinema presents Merab Mamardashvili’s philosophy seen through the eyes of film directors who were directly or indirectly influenced by his lectures. With a detailed analysis of eight films, the book brings together a generation of filmmakers who translated Mamardashvili’s message into cinematic language, performing an experiment through which we might see an alternative mode of thought at work. By showing how Mamardashvili’s considerations of metaphysical, epistemological and moral (...)
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  31.  36
    Pictures, Emotions, Conceptual Change: Anger in Popular Hindi Cinema.Imke Rajamani - 2012 - Contributions to the History of Concepts 7 (2):52-77.
    The article advocates the importance of studying conceptual meaning and change in modern mass media and highlights the significance of conceptual intermediality. The article first analyzes anger in Hindi cinema as an audiovisual key concept within the framework of an Indian national ideology. It explores how anger and the Indian angry young man became popularized, politicized, and stereotyped by popular films and print media in India in the 1970s and 1980s. The article goes on to advocate for extending conceptual (...)
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  32.  46
    A sacrificial economy of the image: Lyotard on cinema.Ashley Woodward - 2014 - Angelaki 19 (4):141-154.
    :The theme of sacrifice appears in Jean-François Lyotard's writings on cinema not in terms of any representational content but in terms of the economy of the images from which a film is formally constructed. Sacrifice is here understood in a sense derived from Bataille, and related to his notions of general economy, and of sovereignty. Lyotard's writings on cinema have received some attention in English-language scholarship, but so far this attention has been focused almost exclusively on two (...)
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  33. Introduction to a True History of Cinema and Television.Jean-Luc Godard - 2018 - Caboose.
    In 1978, just before his return to the international stage, the world’s most renowned art-film director Jean-Luc Godard improvised a series of fourteen one-hour talks at Concordia University in Montreal. These talks, part of a projected video history of cinema, were published in French in 1980. In this definitive English-language volume, translator Timothy Barnard has worked from the original footage to carefully revise and correct the faulty French transcription. The result is the most extensive and revealing account of (...)
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  34.  57
    Sharing (modern) experiences: sport (body) – (image) cinema.Victor Andrade de Melo - 2012 - Journal of the Philosophy of Sport 39 (2):251-266.
    This article discusses the preponderance of aesthetic aspects within the sport experience, especially as these are reflected in the dialogue between sport and cinema and in relations established via the use of images and the emergence of new ideas of the body at the beginning of the twentieth century. The paper is divided into three parts. The first part identifies points of connection between sport and cinema. The remaining parts interpret the meaning of these connections. The paper concludes (...)
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  35.  26
    Edward R. Branigan, Point of View in The Cinema: A Theory of Narration and Subjectivity in Classical Film.Frank P. Tomasulo - 1987 - Journal of Aesthetics and Art Criticism 45 (3):309-311.
    This book review describes and analyzes the basic ideas in Edward Branigan's book POINT OF VIEW IN THE CINEMA. -/- The review points out the importance of the topic, as well as the various kinds of POV shots used in film "language." -/- Although a few (relatively minor) challenges are raised, for the most part this review proclaims Branigan's encyclopedic treatment of POV to be EXTREMELY valuable to cinema scholars and students alike. So much so that I (...)
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  36.  24
    Exactitude and Partiality. Merleau-Ponty and Nancy on Cinema.Daniele Rugo - 2017 - Chiasmi International 19:201-221.
    While it is possible, as Vivian Sobchack and others show, to illuminate film through Merleau-Ponty’s philosophy, it is more difficult to find within Merleau-Ponty’s work a coherent and systematic reflection on cinema. This absence is seldom interrogated. This article addresses what this absence might reveal by analyzing the reasons why Merleau-Ponty stopped short of an explicit discussion of film. The argument builds on these analyses to show how what Merleau-Ponty found problematic about cinema might turn out to be (...)
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  37.  18
    It Came From Hunger! Tales of a Cinema Schlockmeister. [REVIEW]Tony Williams - 2011 - American Journal of Semiotics 27 (1-4):293-294.
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  38.  29
    Christian Metz: The Imaginary Signifier: Psychoanalysis and the Cinema.W. C. Watt - 1983 - American Journal of Semiotics 2 (3):162-172.
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  39.  19
    Review of Mauro Carbone, Philosophy-Screens: From Cinema to the Digital Revolution. [REVIEW]Keith Whitmoyer - 2020 - Chiasmi International 22:449-457.
    In this text, my aim is to provide a reading of Mauro Carbone’s Philosophy Screens: From Cinema to the Digital Revolution in the context of his other writings. My claim is that in this most recent work, Carbone makes a decisive step from being an original interpreter of the work of Merleau-Ponty and Proust to making an original contribution to what I describe, following Merleau-Ponty and Carbone, the history of “a-philosophy”: an historical attempt to reverse the “official philosophy” that (...)
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  40.  47
    Women and the Semiotics of Veiling and Vision in Cinema.Hamid Naficy - 1991 - American Journal of Semiotics 8 (1-2):47-64.
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  41.  29
    Planting the Seeds of Artistic Subversiveness in À Bout De Souffle: Godard’s Trailblazing Cinematic Language.James Kendall - 2020 - Studies in Logic, Grammar and Rhetoric 65 (1):57-70.
    The following article frames a particular case study: Jean-Luc Godard’s À bout de souffle (1960), referenced in the paper with its American title, Breathless. Foraging through the dense and sophisticated thicket of narrative, visual and textual features, the present study will attempt to untangle the overall intrinsic complexity of Godard’s film, as it exceeds simple commonalities between genre conventions or traditional stylistic approaches.The abrasive dialectical opposition that Breathless enacts against classical storytelling is indeed central to the specific cluster that can (...)
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  42.  10
    Conversations on Cognitive Cultural Studies: Literature, Language, and Aesthetics.Patrick Colm Hogan & Frederick Luis Aldama - 2014 - Ohio State University Press.
    In recent years, few areas of research have advanced as rapidly as cognitive science, the study of the human mind and brain. A fundamentally interdisciplinary field, cognitive science has both inspired and been advanced by work in the arts and humanities. In _Conversations on Cognitive Cultural Studies: Literature, Language, and Aesthetics,_ Frederick Luis Aldama and Patrick Colm Hogan, two of the most prominent experts on the intersection of mind, brain, and culture, engage each other in a lively dialog that (...)
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  43. Caetano Veloso or the Taste for Hybrid Language.Ariane Witkowski - 2000 - Diogenes 48 (191):126-134.
    Like many sociocultural phenomena in Brazil, popular music, as everyone knows, is the result of a meeting of influences. It could almost be said that it is born a cross-breed, given the half-European, half-African origins of its best-known first genres, lundu, choro and maxixe. As a result of its history it comes under the sign of the Cannibalism, the metaphor invented by modernist writers in the 1920s to refer to the ‘ritual devouring’ by which Brazil assimilated foreign values and made (...)
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  44.  42
    Wheeler Winston Dixon, It Looks at You: The Returned Gaze of Cinema (1995). [REVIEW]Dave Pruett - 2001 - American Journal of Semiotics 17 (3):271-273.
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  45. “Os dentes afiados da Vida preferem a carne na mais tenra inf'ncia ”: Etnocartografar com olhos de besta.Marcos Ribeiro de Melo, Michele de Freitas Faria De Vasconcelos & Edson Augusto De Souza Neto - 2020 - Childhood and Philosophy 16 (36):01-28.
    in this article, we experience the exercise of a screen ethnocartography in agency with the film Beasts of the southern wild by the director Benh Zeitlin. We tested a film experimentation that led to a renewed writing ways of life. We bet on cinema and childhood as possibilities for creating cracks and a stutter of language for the creation of new worlds and ways of living. In cinema images less as a representation, and more as art that (...)
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  46. Ficción real: el metraje encontrado y las formas de lo real en el cine.Carlos Gustavo Román Echeverri - 2010 - Logos: Revista de la Facultad de Filosofia y Humanidades 17:145-157.
    Some initial considerations on film in documentary form are discussed, along with its relationships with reality and fiction in cinema language. Found footage genre is explained, pointing its most important technical and aesthetical characteristics. The text points the importance of the movie camera in documentary and found footage, not only as a technical device that objectivizes the information in a static manner, but also as an axis that configures dynamism and subjectivity on films. Redacted (2007) by Brian De (...)
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  47.  24
    Movement as Meaning: In Experimental Film.Daniel Barnett - 2008 - Rodopi.
    This book offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference. He then develops a hyper-simplified formula of movement as meaning (...)
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  48.  10
    Film theory: rational reconstructions.Warren Buckland - 2012 - New York, NY: Routledge.
    Introduction -- An improbable alliance : Peter Wollen's "The auteur theory" -- Visual stylometry : Barry Salt's "Statistical style analysis of motion pictures" -- Between Shakespeare and Sirk : Thomas Elsaesser's "Tales of sound and fury: observations on the family melodrama" -- From iconicity to semiotic articulation : Christian Metz's "cinema: language or language system?" and language and cinema -- Film as a specific signifying practice : Stephen Heath's "On screen, in frame: film and ideology" (...)
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  49.  2
    Film as a Method of Scientific Research: A Laboratory for Post-Modern Practices.Ligia Smarandache - 2020 - Studia Universitatis Babeş-Bolyai Philosophia:217-232.
    This article posits that cinematic language should be reconsidered and validated as a means of research in the scientific world. It should no longer be seen as simply a disseminator of information, but also as a means of investigating reality. The new trends in cinema, specifically fiction-documentaries use various methods to investigate reality. These methods could be useful in a broader sense, namely in cross-disciplinary scientific research. The postmodern approach to the notion of complexity or narrative knowledge creates (...)
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  50. Bracketing Religions: A Phenomenological Analysis of Theological Origin and Social Construction of Religions in the Context of PK Movie.Ayşegül Türkeri & Bahset Karslı - 2021 - Ilahiyat Tetkikleri Dergisi 56:309-328.
    Cinema functions as a rich data store for researchers in understanding and interpreting unique characteristic components of a society such as language, culture, tradition, religion, etc. The subject of this study is to question the realities of a multicultural social life with reference to PK movie. There is a set of problems such as what the basic motivations of religious groups are, whether a person could be independent of cultural/environmental factors, and how the theological and sociological perceptions of (...)
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