Explores how moving images both produce and are predicated on place.

Spatial Turns brings together essays that apply a spatial analysis to German literature and other media and engages with specifically German theorizations of ...

Introduction: cinema, globalization and the posthuman object -- Consuming objects -- Exotic objects -- Part objects: war, disavowal, and the logic of substitution -- Objects of desire -- Posthuman objects.

Introduction: Excess, the gaze, and cinema of confinement -- Excess in confinement in Room and Green room -- Big window, big other: enjoyment and spectatorship in Alfred Hitchcock's Rope -- Interior confinement: shattering and disintegration in Ingmar Bergman's The passion of Anna -- It "over-looks": movement and stillness in Stanley Kubrick's The shining -- "It's just a show?" Paranoia and provocation in Oliver Stone's Talk radio -- Voices, telephones, and confined spaces: Phone booth and Locke -- Captive, captor, and aliens: (...) 10 Cloverfield lane -- Conclusion: 127 hours, The wall, Panic room, and Cyberspace. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary (...) value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new (...) insights into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. (shrink)

This book forms part of the multi-disciplinary Studies in Ethics Series from Liverpool Hope University. It explores the slipperiness of ethics as a concept and demonstrates the multiplicity of intellectual inquiry within contemporary Film Studies. At first glance, â ~ethicsâ (TM) is not necessarily a subject conventionally associated with film. Film is often regarded as a form of â ~lowbrowâ (TM) popular culture, either offering bland entertainment or deliberately setting out to shock â " or, more cynically, generate box (...) office revenue â " through gratuitous inclusion of sex and violence. Certainly, there have always been a minority of films based on the stereotypically â ~ethicalâ (TM) subject of religion, but these have often generated the most controversy, from the studio system decree that it was blasphemous to represent the corporeal body of Christ to the furore surrounding Martin Scorseseâ (TM)s The Last Temptation of Christ (1988). This book shows that from the silent era to the present day, film has been inherently concerned with ethical issues. In this light, the definition of ethics that informs the volume and is taken as the starting point of each of the chapters is the notion of personal or institutional motivation; most usually because a character or industry figure makes a decision or choice based on their own moral â " or ethical â " code. Once this is defined, the ethical dimension to films is immediately evident. This book takes as its central theme the difficulty of decisions refracted through personal ethical codes, and thus recognises that what counts as ethics, or morality, is always subjective. Some of the chapters explore films which take conventionally â ~goodâ (TM) ethical standpoints, others investigate why â ~badâ (TM) decisions were made; at least one explores the celebration of practices invoking popular disgust, but all the contributions study ethical decisions within film that represent the strongly felt convictions of those involved and, moreover, address aspects of filmmaking which force the spectator to be an active and reciprocal participant in the creation of meaning, thus implicitly acknowledging that ethics are subjective and in perpetual flux rather than fixed, objective truths. (shrink)

This study dissects Chaplin's method of conveying a story through visuals in his 1921 silent movie, 'The Kid,' emphasizing scene analysis and plot introduction. A detailed discussion of sequences allows the research to illustrate how Chaplin makes meaning, creates a narrative, and establishes emotion solely through visual motion without words. The study uses several theoretical approaches, including film semiotics, narrative theory, and visual composition analysis. This paper examines how Chaplin employs framing, editing, mise-en-scène, and physical comedy to construct a (...) highly symbolic and emotionally rich picture. Special emphasis should be placed on how Chaplin uses both comic and dramatic scenes hand in hand, sometimes even in the same scenes. Key sequences analyzed include the opening scene, which efficiently introduces the main character and presents the setting; the separation scene, an emotionally charged sequence of a man being left by his wife; and the dream sequence, a fantastic sequence in which Chaplin breaks the laws of practical reality to develop character psychology and depth of themes. The paper also explores how Chaplin develops visual motifs and employs repeated actions to unify the narrative and chart the character's growth. Moreover, it discusses how the film's visual analysis and symbolism respond to early twentieth-century social concerns such as poverty and the position of children. As such, this research is pertinent to exploring the silent film narrative and its legacy through analyzing Chaplin's visual strategies. 'The Kid' illustrates that this was the pinnacle of the silent film genre and how complex narrative and character development can be conveyed without using words. Moreover, this research reveals Chaplin's creative processes. It contributes to understanding the potential of visual narrative in Cinema, proving the significance of the silent film language in developing film language. (shrink)

This book considers ethical issues arising in professional and business settings and the role of individuals making decisions and coping with moral dilemmas. It starts by elaborating on critical thinking and on normative ethical theories, subsequently presenting the structure and cinematic elements of narrative film. These two avenues are tools for evaluating films and for discussions on various ethical problems in contemporary business, including: the corporate and banking financial machinations (greed, fraud, social responsibility); workplace ethical challenges (harassment, violence, inequity, inequality); (...) professional and business ethical challenges (corruption, whistleblowing, outsourcing and downsizing); and personal responsibility and identity challenges due to career pressures, loss of privacy and cyber harassment, and job structure changes in light of changing technology. Readers can benefit from engagement in filmic narratives, as a simulated environment for developing a stance towards ethical challenges. (shrink)

Modern and Postmodern Cutting Edge Films closely examines a wide variety of major filmic texts that have established permanent, iconic shifts in modern and postmodern US culture and filmic practices. These films and their often visionary, trend-setting auteurs each introduced new manners of seeing that were imitated by later directors and ultimately, absorbed by popular culture itself. The primary rationale for writing this collection was quite simple: it is new and different. No anthology exists that examines the concept of (...) the cutting edge film across such a remarkably wide variety of genres and with such a diversity of theoretical approaches and subject matter. Equally important, all the contributors bring a unique voice and multi-disciplinary perspective to their respective chapters. This anthology will be of great interest to scholars from a variety of disciplines, including film studies, historical studies, and gender and genre studies. As far as possible, contributors have minimized a great deal of typical theoretical terminology so that lay readers who possess some familiarity with basic film analysis and theory can understand the text. It can be used as a classroom text in both graduate and upper-level undergraduate film classes. Modern and Postmodern Cutting Edge Films is an anthology that instructors of film theory and history can use for many years to come. Indeed, we feel that this remarkable collection of essays will itself become an indispensable, cutting edge text of film scholarship. (shrink)

If narrating—the feeling of stories, fictional or otherwise—is an inherent possibility of motion pictures , then Kracauer's distinction between the realist and formative tendencies must be questioned and, in effect, the two must be synthesized. Wasn't the practical problem for the earliest films how to construct a formative sequence of events within an absolutely real-looking visual context? Wasn't the paradox of film narrative the combination of an obviously unreal sequence of events with an obviously real visual and social (...) setting? And isn't that paradox the most intriguing and complex problem of narrative film today, when the visual and social setting have become increasingly real-seeming? And doesn't this paradox have something to do with the fact that narrative film today seems richer and more important than it did a decade ago, at a time when various admirers of both cinéma vérité and cinéma pur had announced the death of fictional filmed narrative? Kracauer's realist aesthetic, concentrating exclusively on the photographic surfaces of things in the material world , overlooks this paradox altogether. It overlooks the fact—extremely relevant to the cinema—that the term "realist" means one thing in its common application to a painting or photograph and quite another thing in its equally common application to a novel or play. A realistic visual image is one that is said to "look like," "resemble," "reproduce," "iconically represent" the surfaces of the visual world. We see—or think we see—in a painting what we see—or think we see—in the real world.1 But a realistic story is one that is said to chronicle "credibly," "probably," and "believably" the way we think people feel, think, or act, the way things happen, and the reasons they happen, all of which are consistent with the reader-audience-society's beliefs about psychology, motivation, and probability. The standard of one sense of realism is primarily visual while the standard of the other is primarily psychological. One might see the early films groping, then, toward a synthesis of the visual realism of late-nineteenth-century painting/photography with the psychological realism of late-nineteenth-century novel/drama. · 1. This equivocation deliberately avoids the question of whether there is anything actually real about what one sees in a painting or photograph. The fact is that a very large number of viewers operate in this assumption because they think there is something real about what they see, despite the theoretical imprecision of their holding such a belief. Gerald Mast is the author of, among other works, A Short History of the Movies, The Comic Mind: Comedy and the Movies, and Film/Cinema/Movie: A Theory of Experience. His previous contribution to Critical Inquiry, "What Isn't Cinema?," appeared in the Winter 1974 issue. (shrink)

The picture which one naturally presents of the situation is that which would arise before an observer placed outside the earth, who could watch the light wave starting from the central mirror and pursuing the distant mirror, catching up with it at some distance beyond the point at which it was when the light wave started. In this case the observer is able to locate the points at which the parts of the apparatus were at different moments and to measure (...) the distances between. We could simulate this situation on the earth by assuming an enclosed square car, from some point in which two balls were shot out in directions at right angles to each other to the walls of the car, bounding back to the point at which they started. We will assume that the balls move with uniform velocity going and coming, and we will assume that the car is moving. An observer outside the car who marked the point on the rail directly over the starting point and the points reached by the balls when they struck the sides of the car, and then measured the distances which the balls travelled, would find that the ball which travelled with the car covered a greater distance than that traversed by the ball which went at right angles to the direction of the train, and yet the balls would return to the starting point at the same moment, provided they travelled over both their paths at the same velocity during their entire trajects, i.e., the same velocity measured within the car. The observer would be at no difficulty to explain this, for he would see that the velocity in the direction of its motion of the car had to be added to that of balls within the car. That is not the case of the light wave. The velocity of a moving shining body is not added to that of the light wave. The wave motion being set up in ether travels with its own uniform velocity of approximately 300,000 kilometers a second. The light waves then, from the standpoint of the observer outside the earth, traverse through the stagnant ether different distances at a uniform velocity and yet the ether waves exhibit on their return none of the evidence which they should exhibit in the interferometer. (shrink)

From mainstream blockbusters to art house cinema, narrative and narration are the driving forces that organize a film. Yet attempts to explain these forces are often mired in notoriously complex terminology and dense theory. Warren Buckland provides a clear and accessible introduction that explains how narrative and narration work using straightforward language. Narrative and Narration distills the basic components of cinematic storytelling into a set of core concepts: narrative structure, processes of narration, and narrative agents. The book opens with a (...) discussion of the emergence of narrative and narration in early cinema and proceeds to illustrate key ideas through numerous case studies. Each chapter guides readers through different methods that they can use to analyze cinematic storytelling. Buckland also discusses how departures from traditional modes, such as feminist narratives, art cinema, and unreliable narrators, can complicate and corroborate the book's understanding of narrative and narration. Examples include mainstream films, both classic and contemporary; art house films of every stripe; and two relatively new styles of cinematic storytelling: the puzzle film and those driven by a narrative logic derived from video games. Narrative and Narration is a concise introduction that provides readers with fundamental tools to understand cinematic storytelling. (shrink)

According to Wittgenstein’s claim that our “seeing a thing as” is strongly dependent on what he calls “world-picture” and vice versa, motion pictures present “surveyable repres- entations” of our world-picture and therefore influence the way we see the world. Insofar as understanding means to see coherences, motion pictures help humans understand world-pictures. But the insights imparted by motion pictures are not of a mere cognitive kind, since motion pictures do not present (...) arguments. By making use of imaginative identification they have such an impact on humans that they directly “embody” insights and thereby changing what is accepted as knowledge within a world-picture. (shrink)

From film theory to post-theory -- Sublime objects of cinema -- Class struggle in film studies -- Interlude: the pervert and the analyst -- Cinema, ideology, and form -- Enjoyment in the cinema -- Conclusion: theory as realism set in drive.

Emotions play at least three key roles in cinema. First, many motion pictures present highly emotional situations, involving characters who fall in love, who endure unbearable loss, and who become hell-bent on revenge. To make sense of movies, we must identify the emotions that drive their characters. Second, motion pictures seem to arouse emotions. We go to tearjerkers that make us cry, splatter films that make us writhe, and action films that keep us at the edges (...) of our seats. Third, these emotional experiences are, ostensibly, part of cinema’s allure; we value movies that evoke strong feelings. One might summarize these three observations by saying that movie-going involves emotion attribution, arousal, and motivation. Each of these has been a domain of philosophical contestation. How are emotions attributed when experiencing a cinematic fiction? Are genuine emotions really aroused? And do emotional experiences really bring us to the box office? This discussion explores controversies along these three dimensions. (shrink)

_Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.

In lieu of an abstract, here is a brief excerpt of the content:Terry Comito NOTES ON PANOFSKY, CASSIRER, AND THE "MEDIUM OF THE MOVIES" The modesty of my title is not feigned. Panofsky's essay on "Style and Medium in the Motion Pictures"1 is more often quoted than understood, and much of it proves upon examination to be curiously elusive. The notes and hypotheses offered here are tentative ones, meant only to point us in the direction of answers to (...) two questions. How might Panofsky's well-known formulation ("the medium of the movies is physical reality as such") most usefully be construed?—useful for us as viewers and then perhaps as critics of movies. And what might he plausibly be supposed to have intended? It is to be hoped that these two points are not impossibly remote from one another. In a recent discussion of "Fact and Fiction in Literature," Roger Shattuck takes Panofsky's essay as an extreme instance of a "belief in the basically documentary nature of film." According to Shattuck, Panofsky supposes that a "film grows naturally out of material things," that it is generated spontaneously, without the intervention of authorial consciousness, from the "undifferentiated reality" before which a camera needs only to be set in motion. Now this is a familiar enough parody of "realist" theories of cinema. But it would be a curious position for anyone really to assert, and particularly curious for a writer so committed as Panofsky to idealist aesthetics. There is, to be sure, a puzzle about the way such an aesthetic might take account of an art that is said somehow to "do justice" to a materialistic interpretation of the world (p. 31). (We would presumably want to know if the justice in question is distributive or commutative: rendering unto Caesar or robbing Peter to pay Paul?) But does a disciple of Cassirer really need to be lectured at about the priority of the whole to the parts, or to be informed that what we call "reality" is constituted in the act of perception? There 229 230Philosophy and Literature are confusions enough in Shattuck's essay to suggest that he is not our best guide over an admittedly strenuous terrain. He informs his readers that Panofsky (and apparently Bazin and Kracauer too) "anticipate " the views of "many structuralists and semioticians," as if there were not a fundamental difference between the autonomy of écriture and the "animistic" view of physical reality Shattuck attributes to Panofsky and his followers. He then introduces a distinction between documentary and fiction films that makes Panofsky the prophet of Warhol, Wiseman, and South American snuff-films, when in fact he talks about Disney, the Marx Brothers, and the derivation of movies from comic strips and dime novels. All this is worth bringing up because Shattuck does raise some crucial issues, if only by so noticeably fudging them. Like most of us who have responded to Panofsky's essay, he has chiefly in mind the assertion that "the medium of the movies is physical reality as such" (p. 31). He wants to construe this as saying that movies "document" or certify the world of external objects and thereby encourage certain sorts of naivete: the belief that we are secure in our knowledge of the world "out there," and that the world really is "out there," independent of our hypotheses and untainted by our uncomfortable consciousness. That movies have often fueled some such nostalgia for the world seems undeniable, but the question elided in Shattuck's discussion is the critical one. To what extent and in what ways does a statement about the "medium" of the movies commit us to a position as to their proper content, or to a specific social program, or to a particular metaphysical understanding of the world? Shattuck cuts through these knotty matters rather than unraveling them. He talks as if Panofsky claims that physical reality as such is the subject matter of movies—which is where Warhol and cinéma vérité come in, as the inheritors of the tradition of Balzac. But this is not what Panofsky says, and it does not accurately describe the parameters of his taste. He objects to "artistic prestylization" in the manner of Caligari, and he thinks... (shrink)

In the twenty-first century, there has been a resurgence of ecologically conscious art among artists using new technologies. Like Eco-art, this recent movement, which might be called Eco-media, is interdisciplinary. Eco-media is heavily influenced by developments in environmental science, in particular developments in remote imaging and other kinds of remote Earth sensing (for example, the widespread use of satellite imaging and GPS) and developments in computer modelling (for example, detailed global models of climate that not only model the physics of (...) the Earth and solar system, but also explore the chemistry and biology of the Earth). This article will discuss developments in media art related to the computerized interpretation of complex data sets describing and modelling the natural world. It will explore work that has historically straddled artistic and scientific development, specifically Marey's work in the nineteenth century in photography and motion pictures and give examples of artists who are working in the area in-between art and science today. It will also discuss connections between this work and the historical Romantic sublime and the political dimension of this work as advocating for the preservation of the natural world, and give examples of some of the author's artworks in this area. (shrink)

This book attempts to answer the questions, posed by T.J. Demos (in Against the Anthropocene, 2107): how do we find a way address the planetary harm and the issues it raises within the field of Film Studies? How do we construct a theoretical model that allows us to visualize the ecological transgressions brought about by the growth-model of capitalism which is heavily endorsed by mainstream narrative cinema? By turning to the Regenerative model set out in Kate Raworth's book Doughnut Economics (...) (2017) and adapting its fundamental principles to a study of narrative cinema, Film Ecology proposes to show how, by using this model, we can usefully plot and investigate films according to criteria that are not genre/star/auteur-led, nor indeed embedded in anthropocentric theoretical models, but principles which are ecologically based. The hope is that this approach will inspire film practitioners, film theorists, critics and analysts, film students and film lovers alike to consider how they might integrate this Doughnut model into their thinking or work as part of their process. (shrink)

A COMPANION TO MOTION PICTURES AND PUBLIC VALUE A Companion to Motion Pictures and Public Value brings together original essays by world-renowned scholars investigating the varied intersections of the moving image and the public good. Covering a wide range of types and genres of cinema, this unprecedented volume explores the past, present, and possible future contributions of motion pictures to public value. With a cross-disciplinary approach, the text presents original conceptual work, global perspectives, philosophical (...) arguments, historical discussion, empirical research, and specific case studies of the direct and indirect public value developed through motion pictures. Organized into seven thematic sections, this Companion identifies and discusses the various kinds of values that motion pictures can deliver, including artistic and aesthetic, ethical and moral, spiritual and religious, cultural, environmental, political, and cognitive. Throughout the text, readers are provided with deep insight into the issue of public value as it relates to cinema and its positive impact on human life and society. A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines. (shrink)

pt. II. Observation and recall as a function of age.--pt. III. Fidelity of report as a measure of adult intelligence.--pt. IV. The technique of mental-test surveys among adults.

From widespread unemployment and mounting international hostilities, every day we are swept into more political chaos--so one brave man looks to the Star Wars universe for answers to our most urgent problems. "You can't stop the change -- anymore than you can stop the sun from setting." Anakin Skywalker was never able to live with this wisdom shared by his mother on the day he left home to train as a Jedi Knight. That failure led him to becoming the (...) fearsome villain we all know as Darth Vader. We're living in a time of unprecedented and rapid change. An age of chaos. Democracies are in decline worldwide. Dictators are ascendant. Civic organizations are crumbling. People feel lonelier and more rudderless than in any other time in recent history. We've tried to slow down, and in some cases we, like Anakin, have tried stop the change, but failed at every turn. The fears that come with living in an age of disruption have produced public anger, and that anger has swelled movements of hate. Author Stephen Kent believes part of the solution is hiding in plain sight. A story that binds together multiple generations with a common language, a moral framework, and a sense of wonder. It's Star Wars. What if we looked to Star Wars for more than just entertainment? How the Force Can Fix the World takes this challenge on by analyzing the core principles of the Star Wars franchise: HOPE, CHOICE, HUMILITY, EMPATHY, REDEMPTION, BALANCE and rejecting FEAR. Together, these are the Star Wars roadmap for living better lives, and maybe even fostering a better politics. The path that we're on -- where fear leads to anger, and anger to hatred -- will only end in suffering. But Star Wars shows us the way back from the brink. Shared stories of virtue that are beloved across cultures and political divides are hard to come by, but Star Wars is one such story. Turn on the news; things are pretty broken right now -- but the Force can fix the world. (shrink)

In the late 1920s, the American obstetrician Joseph DeLee brought the motion-picture camera into the birth room. Following that era's trend of adapting industrial efficiency practices for medical environments, DeLee's films give spectacular and unexpected expression to the engineering concept of ‘streamlining’. Accomplishing what more tangible obstetric streamlining practices had failed to, DeLee's cameras, and his post-production manipulation, shifted birth from messy and dangerous to rationalized, efficient, death-defying. This was film as an active and effective medical tool. Years later, (...) the documentarian Pare Lorentz produced and wrote his own birth film,The Fight for Life(1940). The documentary subject of the film was DeLee himself, and the film was set in his hospitals, on the same maternity ‘sets’ that had once showcased film's remarkable streamlining capacity to give and keep life. Yet relatively little of DeLee was retained in the film's content, resulting in a showdown that, by way of contrast, further articulated DeLee's understanding of film's medical powers and, in so doing, hinted at a more dynamic moment in the history of medicine while speaking also to the process by which that understanding ceased to be historically legible. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: _ _ Philosophy of Literature_: Contemporary and Classic Readings_ _Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 _ Philosophy of Film and Motion Pictures_: An Anthology _Edited by No ë l Carroll and Jinhee Choi ISBN: 9781405120272.

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with (...) contemporary social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (shrink)

When Werner Herzog states, in his famous Minnesota Declaration, “[fa]cts create norms, and truth illumination”, he not only opposes his own idea of truth as spiritual experience to the notion of factual truth based on a seemingly unmediated representation of reality and purely rational principles. He also points to a societal problem inherent to such hegemonic attributions of veracity as advocated by the representatives of what he calls “Cinema Vérité”: their “truth of accountants” generates a normative perception and understanding of (...) reality. Instead of producing peculiar images that trigger the imagination, they (re)produce benchmarks, fixed values and stereotypes. Thus, they are perfectly in line with the ideology of the “administered society” (Horkheimer and Adorno, e.g. in Dialectic of Enlightenment). Based on the identity principle, this society produces standardized, consumer-friendly forms precluding the individuals from making their own, singular experiences. Films that rely purely on facts instead of seeking for “deeper strata of truth” are thus, for Herzog, not only boring, but also instruments of domination in the service of the status quo. However, Herzog neither avoids the administered society in order to search for an archaic truth beyond or underneath it, nor does he address political issues frontally in the films analyzed in this article. Critique of society rather transpires through particular configurations, notably in moments of confrontation between the “normal” society and the marginalized, “useless”, or otherwise rejected characters (as Kaspar Hauser’s encounter with representatives of the “good society, Strozeck’s misfortune, Woyzeck’s condition as the guinea pig for the sake of scientific progress, or the extravagant setting depicted in Even Dwarfs Started Small). Rather than focusing on the problematic situation of exclusion as such, Herzog emphasizes the very singularity of his protagonists in a dialectical tension with their environment, thus providing an access to the poetic truth which springs out of their individual ways of experiencing as opposed to the normative reality-principle. This is also true for many of Herzog’s documentaries: for example, Walter Steiner’s deep pleasure in ski-flying and the strange beauty of the slow-motion pictures showing him in the air highly contrast with the public pushing him to take dangerous risks and the bloody images presented in the media (The Great Ecstasy of the Woodcarver Steiner). By juxtaposing Steiner’s sensory experience and its singularized image with the societal logic of competition and its stereotyped representation, Herzog discloses the heterogeneous layers of a material truth that escapes factual accuracy. This article aims to approach Herzog’s notion of ecstatic truth by unfolding the dialectical tension between sensory, perceptual and spiritual experiences on the one hand, and the administrated society on the other. -/- . (shrink)

Richard McCormick examines the concepts of postmodernity and postmodernism as they apply to West Germany, discussing them against the background of cultural and political upheaval in that country since the 1960s, rather than exclusively in the more familiar setting of intellectual history. Considering six literary and cinematic texts that are marked by a preoccupation with the self and subjectivity, he underscores the crucial influence of feminism on writers and filmmakers--and on the "postmodern." In a broad international context he describes (...) the conflicting forces that affected the West German student movementthe rationalistic tradition of the Weimar Left and more "irrational" influences such as French existentialism and surrealism (as well as the American "Beat" movement and rock & roll)--and shows how these forces played themselves out so that dogmatic Marxist Leninism was repudiated in favor of a "New Subjectivity.". At the center of the discussion are the novels Lenz by Peter Schneider, Class Love (Klassenliebe) by Karin Struck, and Devotion by Botho Strauss, and the films Wrong Move written by Peter Handke and directed by Wim Wenders, Germany, Pale Mother by Helma Sanders-Brahms, and The Subjective Factor by Helke Sander. The author shows how ongoing attempts to attack the separation of emotion from reason, life from art, the private from the public, and the personal from the political brought about changes in outlook, from the 1960s to the early 1980s, that are related to the rise of new political movements--ecology, nuclear disarmament, and feminism. Originally published in 1991. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

During the last few decades there has been an enormous increase in locally based historical plays in Norway. These are staged by amateurs, although professionals may hold important positions both on and behind the stage. The dramas have their origin in actual or invented historical events located in the area, and the stage is carefully selected to create an aura of authenticity to the performance. The environment creates dramatic scenery as they are mostly staged outdoor, and the audience frequently (...) have to make an effort to travel to the site of the performance. As the plays are staged annually or biennially, they constitute a regular ritual performance in the community. At the same time, minor changes are allowed for from year to year, and which are widely discussed and appraised by the audience and others. Although these dramas claim to represent historical events and period pictures, their underlying message is of current interest. They become mediums whereby the past is seen through the ideological and moral lenses of the present, and are also catalysts for creating selected memories for the future. As such, they should also be considered on the background of the wider social dramas surrounding the actual plays. (shrink)

A unique guide to creative shutter speed techniques, illustrated with striking full-color examples Along with available light and aperture, shutter speed is one of the variables that determine exposure–the amount of light that reaches the camera's sensor. Set on automatic modes, cameras typically attempt to reduce or eliminate blur in a picture. But by manipulating shutter speed creatively, photographers can achieve a range of striking motion blur or stop-action effects. Using an array of inspiring photographs depicting people, wildlife, and (...) landscapes, Creative Power of Shutter Speed explains how to "read" the light and movement in a potential photograph and identify the best shutter speed for the desired effect. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Secrecy and Autonomy in Lewis CarrollSusan ShererVictorian novels quiver with morbid secrets and threatening discoveries. Unseen rooms, concealed doors, hidden boxes, masked faces, buried letters, all appear (and disappear) with striking regularity in the fiction of Victorian England. So many of these secret spaces contain children, and especially little girls, little girls in hidden spaces. The young Jane Eyre sits behind a curtain in the hidden window seat, escaping (...) the vindictive wrath of John Reed. Repulsed by her angry brother, Maggie Tulliver flees to the house attic, fantasizing that her family will fear that she has died. Little Dorrit withdraws from the common space of the Marshalsea into her private room above the prison, and Little Nell hides behind trees and walls, silently observing clandestine meetings. Finally the seven-year-old Alice falls down a rabbit-hole into a Wonderland, the dreamspace of her own psyche.Of these images, none can be more embedded in our cultural imagination than the child Alice dropping into the subterranean well of Wonderland. Indeed, of the many celebrated scenes in the Alice narratives, the most memorable, most potent, most quoted is Alice’s initial descent to the bottom of the rabbit-hole. The lastingness of this scene seems even greater when we realize that, although neither Carroll in Alice’s Adventures Underground nor Tenniel in the first edition of Wonderland illustrated the moment with a picture, it still became (along with the Mad Hatter’s tea party) one of the signature images of the Alice stories. Why, we must ask, did the Victorians retain, with a powerful tenacity, this vision of a little girl moving through a tight space toward the hidden world of Wonderland?The answer to this question is not—at least not wholly—that the scene simply represents a child’s metaphorical progress through the [End Page 1] birth canal 1 and that this, in turn, symbolizes some kind of rite of passage, a movement towards some deeper knowledge. For then how do we explain Alice’s conspicuous lack of internal development in both stories? Indeed, for a narrative that thematizes motion, Alice’s psychical growth remains disturbingly static. Throughout both narratives, Alice displays little emotional variation, for when she is not frustrated or anxious, she is, for the most part, vapid or expressionless. In fact, one is immediately struck by her coolness and indifference as she drops through the rabbit-hole. 2 Thus, because scene changes in Wonderland and Looking-Glass rarely betoken any emotional or intellectual modulations, Alice’s falling into Wonderland signals no internal transition.But the image does relocate her body and within this fictive world, location is everything. The scene gestures Alice’s departure, her separation, her movement towards an autonomy of which every child dreams when, in play, retreating to a hidden space. A child’s impulse to hide, to create a secret space, is one of the most compelling of all human wishes, the wish for autonomy and autarchy—“to be cut off from the word and yet owner of the world.” 3 Throughout Victorian literature, the fantasy of autonomy sets children dreaming of far-away worlds and hidden gardens. The young Cathy and Heathcliff flee to the isolated moors, filling the open, empty space with dreams of unrestricted freedom. Little Dorrit envisages the locked garden behind the Marshalsea as an alternative world to the foul prison atmosphere. And what are the Brontës’s Angria and Gondol but disconnected, self-governing realms imagined from the standpoint of childhood powerlessness? The image, then, of Alice’s fall begins to fulfill this powerful wish for autonomy, which culminates, finally, in Alice’s self-coronation at the end of Looking-Glass. Yet it is only within the child’s willing imagination that a secret space can encroach so closely upon autonomy, for as we shall see, secrecy and autonomy are irreconcilable not only in the demanding world of realism, but even in the more elastic world of Carrollian fantasy.IAlice’s descent into Wonderland and her entrance into the Looking-Glass kingdom would seem like ripe metaphors for Carroll to explore the thoughts and fantasies of Alice’s psyche. What could be more... (shrink)

In this paper, I develop an empirically-driven approach to the relationship between conceptual and non-conceptual representations. I begin by clarifying Wilfrid Sellars's distinction between a non-conceptual capacity to picture significant aspects of our world, and a capacity to stabilize semantic content in the form of conceptual representations that signify those aspects of the world that are relevant to our shared practices. I argue that this distinction helps to clarify the reason why cognition must be understood as embodied and situated. Drawing (...) on recent models of attention and valuation, I then argue that the human brain constructs a dynamic model of the world that it has encountered, encoding higher-level regularities in the form of linguistically structured representations. And I conclude by arguing that this approach to cognition provides a set of critical resources for understanding the situated nature of social cognition. (shrink)

The chapters progress from theoretical foundations to more applied investigations, with more detailed film analysis occurring in the later chapters. In Chapter 1, the focus is on establishing a conception of life narratives that will be used throughout the remainder of the book. It begins with a discussion of the original theories of narrative identity as they were developed by philosophers, and here I lay out the basic mechanics of narrative construction: namely, the process of selecting, connecting, and interpreting narrative (...) elements to form narrative structures. I also discuss how the meaning of life is constituted in large part through this narrative process and how that sort of meaning squares with the views of philosophers who investigate the meaning of life more generally. The original theories of narrative identity have been subject to a variety of criticisms, however, so much of this chapter also explores the debate about the adequacy of narratives as a way of accounting for lived experience. I conclude with a qualified account of narratives, opting for the more general reference to "life narratives" rather than "narrative identity," given the latter term's problematic emphasis on identity and the perennial philosophical questions surrounding it. Having accounted for life narratives, Chapter 2 begins with a discussion of film narratives, shifting to work by film theorists and philosophers of film. The second half of the chapter provides an overview of the ways in which life narratives impact film narratives and vice versa, particularly with respect to the meaning of life. It introduces how we can experience a film as meaningful, how movies can sustain problematic stereotypes in our life narratives, and how films can provide resources for exploring new avenues of meaning in our lives. The purpose of this chapter is to give the reader an overall sense of a new perspective on film and spectator experience, setting the stage for more detailed investigations in later chapters. Chapter 3 completes the theoretical groundwork while simultaneously offering an example of what can be done with this new perspective by investigating an approach to film realism. Specifically, after canvasing some pertinent existing theories of realism, I argues for what I refer to as "narrative realism,"the view that a film, or at least an aspect of a film, is realistic when it depicts narratives that could be possible life narratives - that the actual world, as narrated by us, could be like the world of the film in some relevant way. This will be important, because for a film to impact our life narratives, it must be possible for the film narratives to be substantively like our life narratives, or vice versa. Chapters 4 through Six provide more detailed and complete investigations of the connections between life and film narratives begun in the previous chapters. Chapter 4 investigates the experience of finding a film meaningful, a kind of spectator activity that hasn't been directly investigated in film scholarship. Viewer responses to The Seventh Seal provide an example of what this chapter is about. Chapter 5 looks at the tendency of films to limit our narratives or impose oppressive perceptions and attitudes. It therefore explores some negative effects of film's impact on the meaning of life. And Chapter 6 shows that cinema can have the opposite effect too, broadening our ability to make a meaningful life narrative by expanding or introducing new perspectives and new ways of being in the world and by giving more agency to underrepresented groups by combating oppressive stereotypes. I also consider how some narrative structures, like open narratives, can make us aware of the contingent nature of life narratives and our ability to rewrite them. (shrink)

This book begins at the intersection of Dracula and War of the Worlds, both published in 1897 London, and describes the settings of Transylvania, Mars, and London as worlds linked by the body of the vampire. It explores the "vampire from another world" in all its various forms, as a manifestation of not just our anxieties around alien others, but also our alien selves. Unsurprisingly, many of the tropes these novels generated and particularly the themes they have in common have (...) been used and adapted by vampire narratives that followed. From Nosferatu to Alien, Interstellar, Stranger Things, and many others, this book examines how these narratives have evolved since the end of the nineteenth century. Bringing together texts and films from across the 19th, 20th, and 21st centuries, from the far reaches of outer space and the distant future, it concludes that the unexpected and the unknown are not always to be feared, and that humanity does have the power to write its own future. (shrink)

Bioethics at the Movies explores the ways in which popular films engage basic bioethical concepts and concerns. Twenty philosophically grounded essays use cinematic tools such as character and plot development, scene-setting, and narrative-framing to demonstrate a range of principles and topics in contemporary medical ethics. The first section plumbs popular and bioethical thought on birth, abortion, genetic selection, and personhood through several films, including The Cider House Rules, Citizen Ruth, Gattaca, and I, Robot. In the second section, the contributors (...) examine medical practice and troubling questions about the quality and commodification of life by way of Dirty Pretty Things, Eternal Sunshine of the Spotless Mind, and other movies. The third section's essays use Million Dollar Baby, Critical Care, Big Fish, and Soylent Green to show how the medical profession and society at large view issues related to aging, death, and dying. A final section makes use of Extreme Measures and select Spanish and Japanese films to discuss two foundational matters in bioethics: the role of theories and principles in medicine and the importance of cultural context in devising care. Structured to mirror bioethics and cinema classes, this innovative work includes end-of-chapter questions for further consideration and contributions from scholars from the United States, Canada, the United Kingdom, Israel, Spain, and Australia. Contributors: Robert Arp, Ph.D., Michael C. Brannigan, Ph.D., Matthew Burstein, Ph.D., Antonio Casado da Rocha, Ph.D., Stephen Coleman, Ph.D., Jason T. Eberl, Ph.D., Paul J. Ford, Ph.D., Helen Frowe, M.A., Colin Gavaghan, Ph.D., Richard Hanley, Ph.D., Nancy Hansen, Ph.D., Al-Yasha Ilhaam, Ph.D., Troy Jollimore, Ph.D., Amy Kind, Ph.D., Zana Marie Lutfiyya, Ph.D., Terrance McConnell, Ph.D., Andy Miah, Ph.D., Nathan Norbis, Ph.D., Kenneth Richman, Ph.D., Karen D. Schwartz, LL.B., M.A., Sandra Shapshay, Ph.D., Daniel Sperling, LL.M., S.J.D., Becky Cox White, R.N., Ph.D., Clark Wolf, Ph.D. (shrink)

Anna Kornbluh provides an overview of Marxist approaches to film, with particular attention to three central concepts in Marxist theory in general that have special bearing on film: “the mode of production,” “ideology,” and “mediation.” In explaining how these concepts operate and how they have been used and misused in film studies, the volume employs a case study to exemplify the practice of Marxist film theory. Fight Club is an exceptionally useful text with which to explore these three concepts because (...) it so vividly and pedagogically engages with economic relations, ideological distortion, and opportunities for transformation. At the same time, it is a very typical film in terms of the conditions of its production, its marketing, and its popularity. Adapted from a novel by Chuck Palahniuk, the film is a contemporary classic that has lent itself to significant re-interpretation with every shift in the political economic landscape since its debut. Marxist Film Theory and Fight Club models a detailed cinematic interpretation that students can practice with other films, and furnishes a set of ideas about cinema and society that can be carried into other kinds of study, giving students tools for analyzing culture broadly defined. (shrink)

Both Antonio Genovesi and Ferdinando Galiani devised strategies for Neapolitan economic development, which they realised was essential for preserving its recently acquired independent statehood. In order to avoid any socially disruptive effects they considered how economic processes changed the human mind. Both thinkers grounded their political visions on foreign trade on highly sophisticated ideas of the nature of self-interest. In spite of the similar characters of their projects, the political thought of Genovesi and Galiani has never been subject to serious (...) comparison. Instead the two thinkers have tended to be portrayed as opposite characters with highly divergent political leanings. It is argued here that this view is historically questionable and itself a product of a distorting canonisation process that was set in motion in the second half of the eighteenth century. Ironically, comparing the moral philosophies and economic ideas of Genovesi and Galiani, a picture emerges that inverts the myth that started at the end of the eighteenth century and that until this day has determined accounts of the early Neapolitan Enlightenment. (shrink)

A general duality connecting the level of a formal theory and of a metatheory is proposed. Because of the role of natural numbers in a metatheory the existence of a dual theory is conjectured, in which the natural numbers become formal in the theory but in formalizing non-formal natural numbers taken from the dual metatheory these numbers become nonstandard. For any formal theory there may be in principle a dual theory. The dual shape of the lattice of projections over separable (...) Hilbert space is exhibited. The crucial ingredient of this dual theory is set-theoretical (Cohen) forcing. Then, some attempts have been made to exhibit the dual shape of the exotic smooth (small) structures on topological ℝ4. There are striking similarities of both pictures. Nonstandard solutions of the equations of motion of 10-dimensional superstring of IIB type are described as a model theoretic extension of standard ones. Based on Brans conjecture one can predict the existence of sources of gravity in 4 dimensions. By their dual origins they carry quantum information as well. The generalized Maldacena conjecture appears naturally, which sheds light on a definition of background independent string theory. (shrink)

Research over the past half century has produced extensive evidence that observers cannot report or retain all of the details of their visual world from one moment to the next. During the past decade, a new set of studies has illustrated just how pervasive these limits are. For example, early evidence for the failure to detect changes to simple dot patterns (Phillips, 1974) and arrays of letters (Pashler, 1988) generalizes to more naturalistic displays such as photographs and motion (...) class='Hi'>pictures (e.g., Levin & Simons, 1997; Rensink, O’Regan, & Clark, 1997; see Rensink, 2002 for a recent review). This failure to report changes (change blindness) can be induced in both simple and naturalistic displays, whenever the change co-occurs with a visual disruption such as an eye movement (Currie, McConkie, Carlson-Radvansky, & Irwin, 1995; Hollingworth, Schrock, & Henderson, 2001), image shift (Blackmore, Brelstaff, Nelson, & Troscianko, 1995), flashed blank screen (Rensink et al., 1997), blink (O’Regan, Deubel, Clark, & Rensink, 2000), transient (O’Regan, Rensink, & Clark, 1999; Rensink, O’Regan, & Clark, 2000), movie cut or pan (Levin & Simons, 1997; Simons, 1996), or an occlusion event (Levin, Simons, Angelone, & Chabris, 2002; Simons & Levin, 1998). Change blindness can also occur in the absence of a disruption, provided the change occurs gradually enough that it does not attract attention (Simons, Franconeri, & Reimer, 2000). -/- Failures of visual awareness have been induced in a number of ways. For example, observers often fail to report a visible but unexpected stimulus when attention is focused on some other object or event in the display (inattentional blindness). As for change blindness, inattentional blindness occurs for both simple (Mack & Rock, 1998; Most et al., 2001) and naturalistic stimuli (Simons & Chabris, 1999). Similarly, repeated instances of an item often go undetected when embedded in a rapid sequence (repetition blindness), a phenomenon that occurs for both words and pictures (Kanwisher, 1987; Kanwisher & Potter, 1990). Observers can also fail to detect a stimulus in a rapid stream of stimuli provided they had to perform an attention-demanding task shortly before the stimulus appeared (Shapiro, Arnell, & Raymond, 1997). The surprisingly large variety of conditions that induce failures of conscious perception reinforces the broad conclusion that we are often unaware of what would otherwise be fully-visible stimuli. -/- Along with an increased appreciation of the limitations of visual awareness has come a renewed interest in using these limitations to explore the nature of the representations and processes underlying our visual experience. Are these limitations due to failures of perception? Of attention? Of memory? What is preserved with and without awareness? -/- The papers in this special issue of the Journal of Vision provide examples of exciting new work on induced failures of visual awareness and the mechanisms that underlie them. For example, several papers examine whether observers are drawn to parts of a display by the stimulus features or whether top-down control or semantic comprehension influence search through a display. Others investigate the nature of and limits on the information that is preserved from one view to the next and how much information needs to be retained for effective perception and action. As guest editors, we hope that this special issue will illustrate how studying the relationship between visual awareness and visual representations can lead to important new insights into the nature of seeing. (shrink)