Results for 'Mexican cinema'

981 found
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  1. Celluloid Tears: Melodrama in the'Old'Mexican Cinema.Ana M. López - 1991 - Iris 13:29-51.
  2.  31
    (1 other version)What the digital world leaves behind: reiterated analogue traces in Mexican media art.David M. J. Wood - 2021 - AI and Society:1-10.
    How might experimental media art help theorise what falls by the wayside in the digital public sphere? Working in the years immediately following the launch of YouTube in 2005, some media artists centred their creative praxis towards the end of that decade upon rescuing, revalorising, and placing back into digital circulation audiovisual media formats and technologies that appeared aged or obsolete. Although there may be a degree of nostalgia behind such practices, these artworks articulate a cogent critique of the drive (...)
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  3. The Time of a Missing People: Elliptically Uncovering the Workday of the “Extra” in Bruno Varela’s Papeles Secundarios (2004) and Cuerpos Complementarios (2022).Byron Davies - 2024 - Philosophies 9 (5):154.
    This article examines some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela in order to explore the sense of Gilles Deleuze’s view that modern political cinema is characterized by a “missing” people, to which the adequate response is the people-sustaining or people-generating trance. I argue that the element missing from Deleuze’s discussion is how the typical way for a people to go “missing” under capitalism involves the obfuscation of their labor, an idea that sustains (...)
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  4.  25
    (1 other version)Editors’ Introduction.Alan D. Schrift & Shannon Sullivan - 2023 - Journal of Speculative Philosophy 37 (3):237-242.
    In lieu of an abstract, here is a brief excerpt of the content:Editors' IntroductionAlan D. Schrift and Shannon SullivanThe articles in this special issue of the Journal of Speculative Philosophy were selected from revised versions of papers that were originally presented at the sixtieth annual meeting of the Society for Phenomenology and Existential Philosophy (SPEP) at Texas A&M University in College Station, Texas October 13–15, 2022.Michael Hardt of Duke University and Patricia Pisters of the University of Amsterdam gave the SPEP (...)
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  5.  41
    Buñuel's World, or the World and Buñuel.Elliot Rubinstein - 1978 - Philosophy and Literature 2 (2):237-248.
    In lieu of an abstract, here is a brief excerpt of the content:Elliot Rubinstein BUÑUEL'S WORLD, OR THE WORLD AND BUNUEL* THE line OF descent from Surrealist cinema to chosiste fiction—the line which all the remarks that follow are meant at least to trace—is, if not direct, surely collateral. But the genealogy is so complex as to resist detailing in a brief paper. What I offer may be taken for preliminaries, observations on the cinema of Bunuel prompted in (...)
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  6.  12
    Unwhite: Appalachia, race, and film.Meredith McCarroll - 2018 - Athens: The University of Georgia Press.
    Introduction -- Hillbilly as American Indian -- Appalachian woman as mammy -- Mountain migrant as Mexican migrant -- Appalachia and documentary -- Appendix: Appalachian types in cinema.
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  7. Buñuel e seus interlocutores: Uma visão sobre o filme 'El Angel Exterminador'.Gustavo Ruiz da Silva - 2021 - Idealogando 5 (1):56-71.
    This paper aims to perform a possible heuristic analysis of the film "The Exterminating Angel" (El Angel Exterminador) – produced in 1962 by the Hispanic Mexican director Luís Buñuel – through the platonic thought present in the books: "The Symposium" (Συμπόσιον), and "Republic" (Πολιτεία). It also presents an argument on the film's scriptural, artistic, and historical characteristics, such as some /intersections of its aesthetic movement, the Surrealism – specific correlations with Breton and Benjamin will also be made. Finally, the (...)
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  8. Introduction: The Hyperreal Theme in 1990s American Cinema Chapter 1. Back to the Future as Baudrillardian Parable Chapter 2. The Alien films and Baudrillard's Phases of Simulation Chapter 3. The Hyperrealization of Arnold Schwarzenegger Chapter 4. Oliver Stone's Hyperreal Period Chapter 5. Bill Clinton Goes to the Movies Chapter 6. Tarantino's Pulp Fiction and Baudrillard's Perfect Crime Chapter 7. Recursive Self-Reflection in The Player Chapter 8. Baudrillard, The Matrix, and the "Real 1999" Chapter 9. Reality. [REVIEW]Television: The Truman Show Chapter 10Recombinant Reality in Jurassic Park Chapter 11. The Brad Versus Tyler in Fight Club Chapter 12. Shakespeare in the Longs Chapter 13. Ambiguous Origins in Star Wars Episode I.: The Phantom Menace Chapter 14. Looking for the Real: Schindler'S. List, Saving Private Ryan & Titanic Chapter 15. That'S. Cryotainment! Postmortem Cinema in the Long S. - 2015 - In Randy Laist, Cinema of simulation: hyperreal Hollywood in the long 1990s. New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing.
     
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  9. A Study on Miasma, Purification and the Problem of Evil in Modern Cinema: The Case of the Movie La Jauria (2022) (15th edition).Atilla Akalın & Burcu Yüce Akalın - 2024 - International Journal of Eurasia Social Sciences (Ijoess) 15 (55):406-418.
    In the ancient Greek world, the concept of 'miasma,' which becomes permanent and has the potential to grow over time due to evil acts such as murder committed in the city, is a concept frequently referred to in many classical tragedies. To the extent that miasma has a bad connotation due to its nature and is a situation that occurs due to evil actions, it can be considered together with the philosophical problem of evil. In this study, we aim to (...)
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  10.  18
    Film Worlds: A Philosophical Aesthetics of Cinema.Daniel Yacavone - 2014 - New York: Cambridge University Press.
    _Film Worlds_ unpacks the significance of the "worlds" that narrative films create, offering an innovative perspective on cinema as art. Drawing on aesthetics and the philosophy of art in both the continental and analytic traditions, as well as classical and contemporary film theory, it weaves together multiple strands of thought and analysis to provide new understandings of filmic representation, fictionality, expression, self-reflexivity, style, and the full range of cinema's affective and symbolic dimensions. Always more than "fictional worlds" and (...)
  11.  33
    Blood Diseases in the Backyard: Mexican "indígenas" as a Population of Cognition in the Mid-1960s.Edna Suárez-Díaz - 2017 - Perspectives on Science 25 (5):606-630.
    Between December 14 and 20, 1965, the World Health Organization Scientific Group on Haemoglobinopathies and Allied Disorders metatthe Geneva agency's headquarters. The group comprised eight well-known physicians including Tulio Arends, a leading Latin American human geneticist from the Venezuelan Institute for Scientific Investigations. Others came from North America, Northern and Southern Europe, the Middle East and South East Asia, an array that reflected the delicate geopolitical equilibriums of postwar international health programs, but also the development of highly specialized biomedical research (...)
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  12.  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 essays (...)
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  13.  20
    Mexican philosophy for the 21st Century: relajo, zozobra, and other frameworks for understanding our world.Carlos Alberto Sánchez - 2023 - New York: Bloomsbury Academic.
    Introduction: Mexican Philosophy: What Is It and Why It Matters -- Relajo -- Nepantla -- Zozobra -- Corazonada -- Tik -- Figure of the World -- Mexistentialism.
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  14.  7
    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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  15. Patriarchy on the Line: Labor, Gender and Ideology in the Mexican Maquila Industry.Susan Triano - 1994
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  16.  17
    The Death of Positivism and the Birth of Mexican Phenomenology.Eduardo Mendieta - 2012 - In Gregory D. Gilson & Irving W. Levinson, Latin American Positivism: New Historical and Philosophic Essays. Lanham: Lexington Books. pp. 1.
  17. Reimagining the canon through the lens of Mexican philosophy.Robert Eli Sanchez Jr - 2023 - In Sandra Lapointe & Erich Reck, Historiography and the Formation of Philosophical Canons. New York, NY: Routledge.
     
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  18. The political ecology of languagelessness of the Southwest North American region : case studies in the linguistic commoditization of Mexican origin people.Carlos Vélez-Ibáñez - 2019 - In Thomas Kerlin Park & James B. Greenberg, Terrestrial transformations: a political ecology approach to society and nature. Lanham: Lexington Books.
  19. Demonstrations and problem‐solving exercises in school science: Their transformation within the Mexican elementary school classroom.Antonia Candela - 1997 - Science Education 81 (5):497-513.
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  20. Where Does the Screen Lead Us? Gilles Deleuze and his Theory of Cinema Against the Background of Contemporary Culture.Małgorzata Jakubowska - 1999 - Art Inquiry. Recherches Sur les Arts 1:129-140.
     
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  21. Martha Menchaca, Recovering History, Reconstructing Race: the Indian, Black and White Roots of Mexican Americans.E. Salas - 2003 - Ethics, Policy and Environment 6:278-278.
  22.  23
    “Never Again the Everyday”: On Cinema, Colportage and the Pedagogical Possibilities of Escapism.Marie Hållander - 2021 - Studies in Philosophy and Education 40 (5):493-505.
    This article is a philosophical analysis of escapism as a pedagogical possibility, with a particular focus on TV series. Taking my own, as well as students, experience of escapism into TV series as a starting point, that is, their ability take us somewhere far away, something which has become more acute during the pandemic time since we remain more or less self-isolated because of the corona virus Covid-19, the article discusses escapism in relation to distraction and attention in life as (...)
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  23.  51
    The question of the cinema.Bradford Vivian - 2005 - Journal of Speculative Philosophy 19 (3):250-266.
    Terrance Malick's film _The Thin Red Line is notable for its inexorable tendency to undermine the ontological status of the very times, places, and people it portrays. The film consists in an unrelenting questioning of cinematic reality. Such questioning does not lead to definitive truth or thematic resolution but only to more questions, more incredulousness at the continual disclosure and withdrawal of difference and multiplicity in their own accord. The film thus adopts what one might call a Heideggerian posture of (...)
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  24.  20
    Women’s Political Engagement in a Mexican Sending Community: Migration as Crisis and the Struggle to Sustain an Alternative.Abigail Andrews - 2014 - Gender and Society 28 (4):583-608.
    Early research suggested that migration changed gender roles by offering women new wages and exposing them to norms of gender equity. Increasingly, however, scholars have drawn attention to the role of structural factors, such as poverty and undocumented status, in mediating the relationship between migration and gender. This article takes such insights a step further by showing that migrant communities’ reactions to structural marginality—and their efforts to build alternatives in their home villages—may also draw women into new gender roles. I (...)
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  25.  29
    Rhythm and Scene in the Mexican Telenovela.Candice MacDonald - 2003 - Semiotics:488-504.
  26.  29
    Tore C. Olsson: Agrarian crossings: reformers and the remaking of the US and Mexican countryside: Princeton University Press, Princeton, NJ, 2017, 296 pp, ISBN 978-0-691-16520-2.Kelsey Ryan-Simkins - 2020 - Agriculture and Human Values 37 (2):509-510.
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  27.  11
    Of Toys, Cultural Heritage and Globalization: The Collective Narrative Identity of Traditional Mexican Toys.Griselda Zárate & Sahad Rivera - 2017 - Semiotics:105-114.
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  28.  17
    Teacher Autonomy Support in Physical Education Classes as a Predictor of Motivation and Concentration in Mexican Students.Erasmo Maldonado, Jorge Zamarripa, Francisco Ruiz-Juan, Rosana Pacheco & Maritza Delgado - 2019 - Frontiers in Psychology 10.
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  29. Aproximaciones al arte actual mexicano. Un diálogo entre la tradición y la deconstrucción= Approaches to contemporary mexican. Art a dialogue between tradition and deconstruction.Elisa García Barragán - 2006 - Contrastes: Revista Cultural 45:69-77.
     
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  30.  11
    Personal Pilgrimage to the Development of the Mexican Association for Rural and Urban Transformation.Sergio Sanchez - 1993 - Transformation: An International Journal of Holistic Mission Studies 10 (3):13-16.
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  31.  56
    Please Make More Films, on The Cinema of Terrence Malick: Poetic Visions of America , edited by Hannah Patterso.John Bleasdale - 2005 - Film-Philosophy 9 (4).
    _The Cinema of Terrence Malick: Poetic Visions of America_ Edited by Hannah Patterson London: Wallflower Press, 2003 ISBN 1-903364-75-2 195 pp.
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  32.  98
    Images de femmes dans le cinéma de la Nouvelle Vague.Geneviève Sellier - 1999 - Clio 10.
    L’émergence de la Nouvelle Vague au tournant des années 1960 peut se lire comme la revendication d’une posture créatrice relevant de la culture d’élite, dans un medium jusque là éminemment populaire, le cinéma. S’inscrivant dans une tradition culturelle particulièrement forte en France, ce nouveau cinéma va se conjuguer quasi-exclusivement au masculin singulier, et les figures féminines qu’il crée oscillent entre la prise en compte de l’émancipation des femmes réelles et des fantasmes romantiques et misogynes beaucoup plus archaïques. Ces contradictions sont (...)
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  33.  4
    :Jesus in Our Wombs: Embodying Modernity in a Mexican Convent.Mary Ann Reidhead - 2006 - Anthropology of Consciousness 17 (1):87-89.
  34.  7
    Studying power: divided (DP) versus united (UP): on pluralism, wisdom, wise lies, German geniuses, Mexican scripts, Scotland, Great Britain, Dante, Tolstoy, Einstein, and Pinker.William A. Therivel - 2013 - Minneapolis, Minnesota: Kirk House Publishers.
    “A wise person makes a distinction or says nothing.” There are few distinctions as important as the nature (divided or united) of power. Pluralism becomes clear when divided into DP visitor pluralism and UP insular pluralism.
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  35.  64
    Body Horror and Post-Socialist Cinema: Györgi Pálfi's TaxidermiaSteven Shaviro - 2011 - Film-Philosophy 15 (2):90-105.
    Györgi Pálfi’s Taxidermia is a landmark work of postsocialist cinema. The film is a study in violent contrasts. It is viscerallycharged and icily allegorical; intimately physical in its exploration ofmasculine desire and bodily disgust, and sardonically distanced in its satiricalportrayal of the successive social and political regimes that dominatedHungary over the course of the twentieth century. On the one hand,Taxidermia is a highly controlled, severely formalist film. In its nearlyinhuman detachment, and its rigorously schematic organization, it is assevere as (...)
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  36.  9
    Cahiers du cinéma: 1960-1968--new wave, new cinema, reevaluating Hollywood.Jim Hillier (ed.) - 1986 - Cambridge: Harvard University Press.
    Shares articles and interviews from the influential French film magazine about the New Wave, American cinema and the future of film making.
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  37.  14
    Mexican philosophy in the 20th century: essential readings.Carlos Alberto Sánchez & Robert Eli Sanchez (eds.) - 2017 - New York, NY: Oxford University Press.
    Sanchez and Sanchez have selected, edited, translated, and introduced some of the most influential texts in Mexican philosophy, which constitute a unique and robust tradition that will challenge and complicate traditional conceptions of philosophy. The texts collected here are organized chronologically and represent a period of Mexican thought and culture that emerged from the Mexican Revolution of 1910 and which culminated in la filosofia de lo mexicano (the philosophy of Mexicanness). Though the selections reflect on a variety (...)
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  38. Documento porque ficciono, ficciono porque documento: a ressignificação de imagens de arquivo no cinema brasileiro contempor'neo.Marcelo Dídimo Souza Vieira Correio - 2013 - Logos: Comuniação e Univerisdade 20 (1).
    No cinema brasileiro recente, o diálogo entre o documentário e a ficção tem merecido destaque, com produções de baixo orçamento e ideias originais. É o caso de Santiago (João Moreira Salles, 2007) e Viajo Porque Preciso, Volto Porque Te Amo (Marcelo Gomes, Karim Aïnouz, 2009), filmes que trabalham esse diálogo de forma sutil e diegética, ressignificando imagens de um arquivo próprio, pessoal.
     
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  39. Lab Coats in Hollywood: Science, Scientists, and Cinema-by David A. Kirby.Jeff Schmerker - 2011 - Journal of Mind and Behavior 32 (2):155.
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  40.  6
    The Polarity of Mexican Thought.Michael A. Weinstein - 1976 - Pennsylvania State University Press.
    Mexican thinkers in recent generations have sought a philosophy emphasizing the ends of human activity as contrasted with one stressing means or techniques. According to Professor Weinstein's interpretation, an integrated perspective toward all aspects of the human condition characterizes Mexican philosophy and social thought, incorporating close attention to the aesthetic dimension of human experience and the tensions of human existence. The distinctive Mexican world-view provides a needed supplement to the analytical approach of North American philosophy and Marxist (...)
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  41. Mexican Immigration Scenarios based on the South African Experience of ending Apartheid.Kim Diaz & Edward Murguia - 2008 - Societies Without Borders 3 (2):209-227.
    How can we ameliorate the current immigration policies toward Mexican people immigrating to the United States? This study re-examines how the development of scenarios assisted South Africa to dismantle apartheid without engaging in a bloody civil war. Following the scenario approach, we articulate positions taken by different interest groups involved in the debate concerning immigration from Mexico. Next, we formulate a set of scenarios which are evaluated as to how well each contributes to the well-being of the populace both (...)
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  42.  69
    A Cinema of Boredom: Heidegger, Cinematic Time and Spectatorship.Chiara Quaranta - 2020 - Film-Philosophy 24 (1):1-21.
    Boredom, in cinema as well as in our everyday experience, is usually associated with a generalised loss of meaning or interest. Accordingly, boredom is often perceived as that which ought to be avo...
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  43.  20
    O cinema como cosmopoética do pensamento decolonial.Catarina Amorim de Oliveira Andrade & Álvaro Renan José de Brito Alves - 2021 - Logos: Comuniação e Univerisdade 27 (3).
    Neste artigo pretendemos compreender se, e de que forma, o cinema pode servir a uma cosmopoética do pensamento decolonial. Para tanto, nos apoiaremos em alguns conceitos dos estudos decoloniais, que buscam atualizar a tradição crítica do pensamento latino-americano a partir da problematização do pensamento hegemônico (eurocêntrico), oferecendo novas releituras histórias e novas possibilidades de produção dos saberes. A perspectiva decolonial opera fornecendo novos horizontes para o pensamento, promovendo uma ecologia dos modos de saber e conhecimento não reconhecidos pelas epistemologias (...)
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  44.  42
    Non-Cinema: Digital, Ethics, Multitude.William Brown - 2016 - Film-Philosophy 20 (1):104-130.
    In this article I propose the concept of ‘non-cinema’. The term points to that which is excluded from cinema, and accordingly I seek to explore the various reasons for these exclusions, in particular the political/ideological ones, together with how these exclusions are manifested on an aesthetic level. Instead of André Bazin's founding question regarding what is cinema, therefore, this essay asks what cinema is not – and why. This question is of redoubled importance in an age (...)
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  45. Cinema, philosophy, Bergman: on film as philosophy.Paisley Livingston - 2009 - New York: Oxford University Press.
    The increasingly popular idea that cinematic fictions can "do" philosophy raises some difficult questions. Who is actually doing the philosophizing? Is it the philosophical commentator who reads general arguments or theories into the stories conveyed by a film? Could it be the film-maker, or a group of collaborating film-makers, who raise and try to answer philosophical questions with a film? Is there something about the experience of films that is especially suited to the stimulation of worthwhile philosophical reflections? In the (...)
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  46.  16
    The Cinema of Michael Haneke: Europe Utopia.David Sorfa & Ben McCann - 2011 - New York, NY, USA: Columbia University Press.
    Michael Haneke is one of the most important directors working in Europe today, with films such as Funny Games (1997), Code Unknown (2000), and Hidden (2005) interrogating modern ethical dilemmas with forensic clarity and merciless insight. Haneke's films frequently implicate both the protagonists and the audience in the making of their misfortunes, yet even in the barren nihilism of The Seventh Continent (1989) and Time of the Wolf (2003) a dark strain of optimism emerges, releasing each from its terrible and (...)
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  47.  21
    Lee Grieveson. Cinema and the Wealth of Nations: Media, Capital and the Liberal World System. Oakland, Calif.: University of California Press, 2018. 492 pp. [REVIEW]Priya Jaikumar - 2019 - Critical Inquiry 46 (1):243-244.
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  48.  14
    Cinema, philosophy and paideia : A Badiouan analysis of the Iranian movie “Hit the Road”.Torill Strand - 2023 - Ethics and Education 18 (3-4):405-422.
    ABSTRACT I here read the Iranian film Hit the Road through the eyes of the French philosopher Alain Badiou. In doing so, I hope to illuminate the triadic link between cinema, philosophy and paideia (ethical-political education). To explore, I adopt a philosophical methodology with the double ambition to reveal the latent pedagogies of the film and to acquire insights on the distinctiveness of a Badiouan conception of cinema. My questions are to what degree and in what ways cinematic (...)
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  49.  5
    How “Mexican Pathologies” Were Transformed into Objects of Exhibition: Museums of Pathological Anatomy in 19th-Century Mexico.Laura Cházaro-García - 2023 - Centaurus 65 (3):553-575.
    This article analyses how samples of pathological anatomies were transformed into collectible objects in 19th-century Mexico, revealing a process that involved multiple locations and the mixture of the practices of physicians, anthropologists, and amateur collectors. Historiography has focused on the Museo de Anatomía Patológica (Museum of Pathological Anatomy), an institution devoted to the training of medical students created in 1853 at the Escuela Nacional de Medicina (National School of Medicine) in Mexico City. Archival evidence shows that medical collections existed far (...)
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  50.  20
    Mexican Regulation of Biobanks.Lourdes Motta-Murguia & Garbiñe Saruwatari-Zavala - 2016 - Journal of Law, Medicine and Ethics 44 (1):58-67.
    Biobank-based research in Mexico is mostly governed by research and data protection laws. There is no direct mention of biobanks in either statutory or regulatory law besides a requirement that the Federal Ministry of Health and a Mexican institution devoted to scientific research approve the transfer of biological materials outside of Mexico for population genetics research purposes. Such requirements are the basis of Genomic Sovereignty in Mexico, but such requirements have not prevented international collaboration. In addition, Mexican law (...)
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