Since the advent and standardization of the theatrical feature length film, the audio-visual short has been more or less marginalized in the discussions on cinematic experience. Historically stretching from the ‘early cinema’ of the vaudeville, to the now obsolete ‘little films’ of YouTube and beyond, the audio-visual short traverses a wide variety of media platforms, practices and technologies, including animation, video installation art, video clips and TV commercials, as well as animated GIFs, machinima and DIY movies, made (...) to measure for handheld devices. The widespread usage of the format suggests that short audio-visual artefacts are not an anomaly or rarity on the periphery of cinema, but rather should be put at the centre of our discussions when rethinking cinematic experience and the moving image today. Such is the request we have made to the contributors to this volume: to write a short essay on short film experience. (shrink)

Can the history of philosophy transcend the reconstruction of facts and the causal relationships that bind them together? As such, it can also be said to facilitate the analysis of key philosophical problems inherent to the act of communicating the history of philosophy itself. In this article, such a possibility is explored from the vantage point of William Lyons’ short films The Examination (2015) and The Letter (n.d.). These productions re-create certain episodes in the life of Ludwig Wittgenstein and (...) Hannah Arendt with an eye to institutional and moral issues of philosophical significance. (shrink)

Attempting to explain, in a short film, a theoretical concept that underlies our the feature film Madame B (Bal & Williams Gamaker, 2014), I discovered that narrativity and description, always in tension, merge into more clarity as the film gets shorter.

Tracing the short film as an alternative to the more familiar feature film, Gunning moves from the shorter films of early cinema to the avant-garde films of Peter Kubelka, discussing Maya Deren’s concept of vertical time and Kubelka’s idea of ecstasy. The claim is made that time in short films can be very different from the time in narrative films, not simply briefer.

Decalogue Five tells the story of Waldemar Rekowski (Jan Tesarz), a jaded taxi driver, Piotr Balicki (Krzysztof Globisz), an idealistic, newly-licensed attorney, and Jacek Lazar (Mirosław Baka), a young and troubled drifter, whose lives intersect with one another as a result of fate, or contingent circumstance, or some combination of both. With brutal detail and detachment, the film depicts Jacek’s seemingly aimless wanderings through Warsaw, his senseless killing of Waldemar, his interactions with Piotr (his court-appointed attorney), and his eventual (...) execution after a failed defense in court. Like other films within the Decalogue series, Five illustrates what happens when human beings are forced to confront ethical dilemmas (and thus are forced to confront themselves as responsible moral decision makers) in a world that seems to offer little in the way of moral direction, meaning, purpose, and community with others. Discussing the overarching aim of the Decalogue series as a whole, Krzysztof Kies´lowski refers to the sense of alienation, aimlessness, and loneliness that often describes the human condition. (shrink)

The book is an interdisciplinary work shaped around films made by different workshop participants using film to access personal interpretations of space and place. It is focused on interacting and engaging with remembering through different memory sites.Travelling along a timeline of memory Tanja Sakota takes us on a journey through South Africa Germany Poland and Bosnia/Herzegovina. Using a camera and short film format Sakota hosts several workshops in different countries focused on interacting and engaging with remembering through (...) different memory sites. The author sits at the core but the book is an interdisciplinary work shaped around films made by different workshop participants using film to access personal interpretations of space and place. Questions that underpin the uncovering of memories are: How does one use a camera to make the invisible visible? How does one remember events that one hasnt necessarily experienced? How does one use film to interrogate the past from the future present? As the journey evolves workshop participants and readers alike enter into a conversation around practice-based research autoethnography and film. (shrink)

Dying serves so often within the narratives of Western popular culture, as an exercise in self-improvement both to the individual dying and to those looking on. It enlightens, ennobles and renders exceptional all those affected by it. Though mainstream cinema's “grammar of dying” is mired in similar myths, film has the potential to do dying differently: it can, instead, connect us, ethically, to the vulnerability of others. The aim of this article is to pursue this potential of film. (...) Using the mainstream grammar of dying as a starting point, I will consider how the moving image, and this ethical potential, is harnessed within two hybrid-media pieces about a loved-one's decline and death: George Saxon's art installation, “A Record of Undying” (2014) and photographer Briony Campbell's short film The Dad Project (2009). While these works will be located within the traditions and transformations of moving image practice, the primary concern here is with how such emotionally resonant pieces navigate our relation to, and responsibility for, our own and others' harsh realities. In this way, the question of ethics is grounded not in the solipsistic circuits of affective modes – whether as the catharsis or betterment of mainstream myths, or what Jane Stadler privileges as the ethical effects of empathy – but in something more inherently, more inevitably, political. (shrink)

The study of film adaptations, particularly those coming from literature, has been growing at a rapid rate during the last years due to the amount of adaptations coming from both mainstream and independent film industries. The focus of these studies though is generally addressed to best sellers where the literary style is clearly adaptable to the screen; however, there are cases where the adaptive process has resulted in an entirely different outcome. Naked Lunch, written by William Burroughs and (...) adapted to screen by David Cronenberg, represents a bold change if compared with other novels turned into films. The purpose of this article is to descriptively analyse the literary style in order to understand how it has been represented and adapted into Cronenberg’s film. The analysis will be performed helped with computer-based tools to support statements, using the novel itself as corpus and adding theoretical ideas from Leech and Short’s perspectives. The results suggest that the author’s corrosive, sexually-fuelled claustrophobic style has been translated following three patterns in terms of adaptation theory, although Burroughs, in the hands of Cronenberg, becomes an almost new classification of adaptation, not only adding literary features to the film, but also distinguishable core moments of the writer’s life to the final product. The analysis conducted encourages the study of other uncommon adaptations from literary authors in order to understand the adaptive process followed by filmmakers. (shrink)

Matilda Mroz argues that cinema provides an ideal opportunity to engage with ideas of temporal flow and change. Temporality, however, remains an underexplored area of film analysis, which frequently discusses images as though they were still rather than moving. This book traces the operation of duration in cinema, and argues that temporality should be a central concern of film scholarship. In close readings of Michelangelo Antonioni’s L’Avventura, Andrei Tarkovsky’s Mirror, and the ten short films that make up (...) Krzysztof Kielowski’s Decalogue series, Mroz highlights how film analysis must consider both particular moments in cinema which are critically significant, and the way in which such moments interrelate in temporal flux. She explores the concepts of duration and rhythm, resonance and uncertainty, affect, sense and texture, to bring a fresh perspective to film analysis and criticism. Essential reading for students and scholars in Film Studies, this engaging study will also be a valuable resource for critical theorists. (shrink)

The paper concerns a “Note on the Film,” a short appendix to Feeling and Form by Susanne Langer. The interpretation interweaves the Note into a larger context of Langer’s philosophical work – primarily in terms of her understanding of the dream as a lower symbolic form, to which the film is compared – as well as in terms of her account of literary arts among which, she suggests, cinema belongs. Langer’s references to Sergei Eisenstein are discussed and (...) their respective concepts of cinema are compared. An implicit political dimension of Langer’s writing on film is emphasized by relating her critique of modern civilization, as sketched in the last chapter of Philosophy in a New Key, to her film aesthetics. At the end of the paper I compare my interpretation of the Note with the one that was offered by Trisha Curran. (shrink)

In this study, I explore the viability of what Carl Dreyer called film novels or filmscripts in the form of novels. I show that these novels are viable---that is, they can be written and filmed in ways that deeply engage us in understanding them. ;In the introduction, I explain that this study is a poetics---that is, it formally defines film novels, specifies a standard for successful film novels, and specifies ways of creating film novels so that (...) they are likely to be successful. I then survey what scholars have written about these script-like novels. ;In the first chapter, I define film novels as short, visually engaging novels-that is, short novels that continually engage readers in picturing scenes. I then explore the historical background of this type of novel. ;In the second chapter, I explain that successful film novels are interpretively engaging---that is, they engage readers, not only in continually picturing scenes, but also in thoughtfully interpreting them. I then trace the history of film novels and show how they, and films based on them, have engaged readers and viewers in interpreting them. ;In the third chapter, I explain that thoughtful interpretation can be understood as generous interpretation if we use the word generous as Jean-Paul Sartre did. Drawing on Sartre's philosophy of literature, I explain how generous writers engage readers in generous interpretation. ;In the fourth chapter, I explain how writers can generously create characters and plots for film novels. In the fifth, I present detailed exercises to help writers generously create scenes and storylines for film novels. In the sixth, I explain how filmmakers can generously turn film novels into films. ;I conclude that film novels come from a tradition of highly visual novels, film novels can be deeply engaging, and this engaging quality can be preserved in films. (shrink)

ArgumentThis paper explores the relationship between the medium of motion-picture film and the representation of autobiographical memory during the middle decades of the twentieth century. The paper argues that a reciprocal relationship developed between film and memory, in which film was understood as an externalized form of memory, and memory an internalized record of personal experience similar in many respects to film. Memory was often represented as an object-like entity, preserved in stable form within the body, (...) and able to be extracted by the right stimulus or trigger. A particularly important community in which this representation was developed was psychotherapeutic practitioners with psychoanalytic orientations, particularly during and shortly after the Second World War. In special circumstances, therapists and others claimed, records of past life events could be projected, film-like, onto the screen of an individual's conscious, replaying previous experiences in real time. The paper develops a social historical account of this relationship, and reflects on its significance for the history of selfhood in the twentieth century. (shrink)

Curriculum-focused films suitable for all exam boards with board-specific worksheets for Edexcel, AQA, OCR, and WJEC. Short film clips talk students through key ideas, using student-friendly language and visual signposting to break down difficult concepts. This DVD covers three ethical theories; Utilitarianism; Kantian Ethics; Virtue Ethics and features interviews with contemporary philosophers to bring debates vividly to life.

Part way through Stephen Frears’s film, The Queen , the monarch undergoes an extraordinary, magical experience whilstjourneying into the Scottish landscape that surrounds Balmoral, her grandancestral holiday home. Despite the anxious offers from her estate workersto chauffeur her, she drives alone into the mountains and proceeds to breakdown in the centre of a fast flowing river. While awaiting help a strangeevent occurs: a stag appears magically as if from nowhere and, unable tohide her admiration for the beast, the Queen (...) gently utters the words, ‘Oh!You beauty’ before the animal disappears as mysteriously as it arrived.Framed in a painterly way, and providing a marked punctuation to the urbansettings that have dominated the film so far, this short sequence presents aseries of sumptuous landscape images that elicit a spectator response whichis instinctive and intuitive. When analysed using an aesthetic approach – amethodology one might use for the examination of a painting – anemotional relationship is mobilised between the spectator and the film: asentiment not necessarily available through a narrative reading. (shrink)

A new orthodoxy suggests that André Bazin's work had little influence in anglophone countries until decades after his death. This article cites a wide range of evidence, mainly from British publications, in order to challenge this view. Starting with the critics who were associated with the ground-breaking magazine Movie in the early 1960s, it notes also Bazin's early impact in America via the magazine Film Quarterly and the high-profile critic Andrew Sarris. Moreover, Peter Wollen and Laura Mulvey, two of (...) the most prominent British theorists commonly associated with an anti-Bazinian ‘Screen Theory’ of the 1970s, are shown to have been both continuously respectful of, and influenced by, Bazin's work. In short, it is argued that Bazin's influence on anglophone film culture has been continuous and formative rather than sporadic. (shrink)

Recent work by Ian Aitken and others has sought to re-establish a "Realist approach" to the documentary film in reaction to the postmodernist, pragmatist approach popular in the 1970s and 80s. The Saussurian/Lacanian orientation o f the semiotics that played a large role in the older film theory is rejected and replaced by an analytic theory of representation based on the work of Mary Hesse, Hilary Putnam and W.V.O. Quine. Although this may seem a setback vis-a-vis semiotics, it (...) actually opens up Realist Film Theory to an application o f the doctrine of signs more closely aligned to traditional realism, that of Pierce and Poinsot. This presentation outlines how Realist Film Theory can be enriched and developed by such an application. In particular, Aitken's model for the processing of the truth-value communicated through a documentary film can be strengthened in this manner. We will look at a short filmic example to illustrate the resulting development of the theory, manifesting how the documentary film is anchored in both reliablyrepresenting reality and creatively organizing and construing it. (shrink)

This collection presents, for the first time in English, Jean-Francois Lyotard's major essays on film: 'Acinema', 'The Unconscious as Mise-en-scene', 'Two Metamorphoses of the Seductive in Cinema' and 'The Idea of a Sovereign Film'. Then, eight critical essays by philosophers and film theorists examine Lyotard's film work and influence across two sections: 'Approaches and Interpretations' and 'Applications and Extensions'. These works are complemented by an introductory essay by leading French scholar Jean-Michel Durafour on Lyotard's film-philosophy, (...) an overview of Lyotard's practical film projects written by his collaborators Claudine Eizykman and Guy Fihman, and the synopsis for a later film project Memorial Immemorial, which Lyotard proposed but was not produced. Jean-Francois Lyotard was the most significant aesthetician of the poststructuralist generation, but this dimension of his thought is only recently beginning to receive the attention it deserves in the English-speaking world. He devoted a number of essays to film, and was involved in making several experimental short films. Lyotard's reflections on film offer a perspective which seeks to do justice to it as an art by focusing on its aesthetic, material qualities. His work in this area remains a largely untapped resource, with the potential for inaugurating exciting new directions in film-philosophy. (shrink)

This article explores the relation between cinema and philosophy through the lens of interest shown by some filmmakers in the lives and works of philosophers. It begins by delving into contemporary perspectives on the relationship between philosophy and cinema. In order to assess how the constitutive dissimilarity of the two terms and the ways in which they can be brought together are at the origin of speculative short circuits and experiences of wonder, it brings together the works of thinkers (...) – Cavell, Benjamin, and Kracauer; and filmmakers Rossellini, Montaldo, Keaton, and Jarman. Reflecting on the aesthetic and cultural impact of cinema is all the more important given the current omnipresence of images and prosthetic technologies that, with their incessant solicitations, threaten the processes of apprehension, learning, and conveying of knowledge. Thinking and perceiving differently thus becomes an essential function of cinema, one keenly performed in Safaa Fathy’s Derrida’s Elsewhere, analyzed in the last two sections. (shrink)

The article starts from Gilles Deleuze’s assumption of film being a philosophy in its own right and applies it to the horror genre. It reads Stanley Cavell’s concept of genre, Timothy Jay Walker’s work on the Horror of the Other (1) and Eugene Thacker’s understanding of philosophical horror (2). It researches horror film as philosophically relevant access to nothingness (3) and shifts to the operations of assigning places to nothingness according to its respective place of access (off screen, (...) on screen, behind the screen/behind the camera) (4). It then gives short analyses of Midsommar (5), Hereditary (6), Tarantula (7), and The Conjuring (8). In Tarantula, the screen functions as a shield against the agent of nothingness residing behind it. Once surmounted from behind by nothingness, the screen is finally purged. In Hereditary and Midsommar, nothingness is always already here, in full light, constantly transforming everything into nothing. In The Conjuring, the morphings and vectorial movements have nothingness evaporate from the screen to what lies behind it, namely (digital) picture technology. The screen turns into a membrane between nothingness and its condition, technology. As a consequence, we have to switch from philosophical horror to technological horror as access to nothingness (9). (shrink)

The idea of the “film essay,” from Alexandre Astruc to Harun Farocki, concerns arguments for and/or against cinema and its truth-telling apparatuses. For example, as discordant and often-dark elegy for themes present in everyday cultural criticism, yet themes often eclipsed by rationalist and neo-positivist biases, the subjective states of the “film essay” hold considerable promise toward new visual methodologies or procedures for psychogeographical inquiry in landscape-architectural discourse – through foregrounding novel forms of so-called vision plans toward the much-needed (...) short circuit of persistent analytical models grounded in programmatic hubris. When applied to environmental design disciplines, the reverie-inducing “film essay” acts as a critique of the usual rules and biases of project design development and presentation methodologies, conjuring possible futures for sites that do not automatically default to utilitarian concerns and/or mere political expediency. (shrink)

This article deals with the aesthetics of the art documentary of the 1940s and 1950s, which can be considered as the Golden Age of the genre. Prior to the breakthrough of television in Europe, which would usurp and standardize the art documentary, cinematic reproductions of artworks resulted in experimental shorts that were highly self-reflexive. These films became visual laboratories to investigate the tensions between movement and stasis, the two- and three-dimensional, and the real and the artificial—a film on art (...) was self-consciously presented as an art film. Focusing on La Leggenda di Sant’Orsola by Luciano Emmer and Le Monde de Paul Delvaux by Henri Storck, this article also investigates how the animation of the static image by the film medium relates to Surrealist practices. (shrink)

This introduction outlines the threefold contribution that this Focus section on research film offers. First, it introduces the vast collection of films from the former Institute for Scientific Film (Institut für den Wissenschaftlichen Film [IWF]), arguably the most ambitious endeavor ever undertaken to manage the distribution, production, and archiving of research films. At the same time, the institute’s questionable roots in the National Socialist education system and in war research are addressed. Second, the introduction points out that (...) the Focus section enters largely uncharted terrain in the history of research films. Third, it argues that a focus on the multiple reuses of research films, as this section attempts, not only suits the medium specificity of film but helps us to map the aesthetic, intermedial, and cultural-political practices of disseminating knowledge. In this vein, the organizers asked established scholars working on film and science to share with us a short story of a reused research film. Scott Curtis, Vinzenz Hediger, Anja Laukötter, and Hanna Rose Shell responded. Their contributions can be found in the supplementary materials to the online edition. (shrink)

The films of Bruno Dumont are tied to unwatchability, austerity, and a post-theological seriousness. Recently, however, Dumont has taken a surprising turn towards comedy; and yet these comedies are not without the post-theological despair that characterizes his earlier films. Taking Dumont's comedy seriously, this article frames Dumont's comedic turn not as a deviation but rather as a realignment that requires retroactive reconsideration of his oeuvre's post-theological orientation. We interrogate the philosophical implications of laughter in Dumont's work and argue that it (...) suggests a new trajectory for the post-theological project. The work of Georges Bataille anchors our analysis of violent laughter, while Jean-Luc Nancy's post-theology structures our central argument. We read Nancy's post-theology into the construction of space and subjectivity in Dumont's earlier works, which characterize both human characters and the landscapes they inhabit with a pervasive sense of depthlessness or blankness. These features of absence often lead spectators to project emotions onto Dumont's characters, but we stress this blankness as foregrounding the essential unknowingness of the subject – something which also drives Bataille's notion of laughter. For Bataille, laughter is rooted in nonknowledge, it is a non-productive expenditure that exposes the limits of human existence. It is this horizon of death and nothingness that drives Dumont's comedies. Understood through post-theological laughter, Dumont's comedic films and TV series provide new ways of accounting for the death of God. This laughter in turn operates retroactively to productively reframe post-theological violence in his work. In short, this article contends that none of Dumont's films are meant to be taken seriously. Confronting the ethical and philosophical implications of Dumont's comedic turn, this article investigates the implications of reading his oeuvre through this divinely absurdist, post-theological comedic lens and articulates a theory of post-theology that foregrounds the radicality of laughter. (shrink)

Although socialist Romanian cinematography focused on commer­cial and artistic feature films, hundreds of short films were produced every year on the fringes of the industry, in specialised animation and documentary studios, in amateur cine-clubs, by students at the National Institute of Film and Theatre in Bucharest, and by other amateurs (some of them visual artists) who owned a personal camera. Starting from an analysis of the context that allowed for such practices to flourish in a state whose official (...) policies did not support this typology, this essay explores the modes of production and the experimental tendencies in Romanian cinema during the socialist era, mapping the territo­ries where the avant-garde and experimental film manifested themselves. It is a gesture of digging at the margins of the film industry in the hope of shaking up the current canon and of offering a better understanding of the peripheries of the period’s cultural production, which will reverberate in the ways we are used to approaching its centre. (shrink)

What are angels? Where were they first encountered? Can we distinguish angels from gods, fairies, ghosts, and aliens? And why do they remain so popular? This Very Short Introduction investigates stories and speculations about angels in religions old and new, in art, literature, film, and the popular imagination.

Woody Allen’s uneasy relationship with organized religions, as represented in his entire work, has often drawn accusations of atheism and ethnic self-hatred, just as his personal behavior, as represented in the media, has stirred a series of allegations of immorality. However, Woody Allen’s exploration of religion, faith, and morality is far more complex and epitomizes the experience of modern man, living in a disenchanted universe. While most scholars focused on discussing the provocative debates over faith and religion in Woody Allen’s (...) films, the main purpose of this paper is to investigate what underlies Woody Allen’s obsessive preoccupation with the existence of divinity, as expressed in that part of his work which received little critical attention, namely his short fiction. The purpose of such an analysis is not to clear Woody Allen’s vexed reputation, but to understand the relevance of his individual ideology for the religious and moral conundrums of modern man. The corpus selected for this analysis consists of a series of relevant short stories and essays published in the 1991 edition of The Complete Prose of Woody Allen , a volume which gathers the texts published in three other short story collections. (shrink)

Film collectives and collaborative production have evolved into potent vehicles of change, con-verging on themes of gender and representation of marginalised groups, allowing communities to introspect and create their own cultural identity. Community produced short documentaries, shift dialogue from national to local regions. Film Collectives produce short documentaries, reinforc-ing modular over conventional. In this study, the researchers aim to examine short documentaries produced through collaborative production approaches at the grassroots level, specifically those serving or created (...) by communities in India. The research places significant emphasis on investi-gating the advancement of social welfare within the local community through these films. Over-all, the language and structure employed in collaborative filmmaking align more closely with tra-ditional documentary practices. The objective of the study is to achieve a thorough comprehension of the importance of community films and to explore their sustainability over the long term. To achieve this goal, the researchers have chosen to analyse four films produced by SPS Media. Through the creation of their films, SPS Media, captures the real-life experiences and obstacles of marginalised communities. Their films serve to bring attention to and facilitate discussions on issues such as poverty, gender inequality, education, healthcare, and sustainable agriculture. Key characteristics of collaborative production are discussed in the paper. The research methodology adopted is qualitative in the nature, with a case study and narrative and textual analysis of short documentaries. (shrink)

This short document, appearing for the first time in English translation, concerns the prospects of a made-for-television cultural mini-series inspired by select episodes in Kafka's works. A window is opened onto Guattari's curatorial ambitions, cinematic projects, and theory of minor cinema, bringing into focus how he translated theoretical preoccupations into the cultural sector with reference to diverse semiotic media.

Although it is an emerging research field, the philosophy of film has a long tradition of investigating the complex relationship between painting and film, with a special focus on films about painting: on how the two art forms encounter each other from a spatial and temporal perspective. In addition, the field has long explored the ways in which films represent the modern city. From the beginning, film has been associated with the representation of the modern city and (...) of other art forms. Focusing on O Pintor e a Cidade/The Artist and the City (1956) by Manoel de Oliveira (1908–2015), and grounded in Gilles Deleuze’s philosophy of film, the following touches on both of these themes. The Artist and the City is a short documentary on António Cruz (1907–1983)—a watercolorist known for his landscapes of Porto—the subject of which is not only the painter’s life and work but also the city itself, as its title suggests. As the following will show, the film offers a twofold representation of the city: that provided by Manoel de Oliveira, and that provided by the subject of the documentary, António Cruz. (shrink)

A phenomenological look on film editing through Merleau-Ponty’s ideas opens up a new way of seeing what editing is and how it affects the spectator. In the classical sense, editing is looked at technically where certain aspects of its use in the film’s language are interpreted and analyzed to understand why and how something is done. In this thesis, the aim is to not dwell on understanding the why and the how. The aim is to view film (...) editing from a different perspective that might lead to another type of thinking outside the limitations of empirical and intellectualist approaches. While the classical approach is able to satisfy most of what a spectator would need to understand, it falls short on what the spectator feels and experiences. In order to try to grasp how Merleau-Ponty’s phenomenological approach could be adapted to film editing. First we have to start from the beginning to see how editing came to be and what ideas, approaches and techniques it brought with it. As all the approaches have their own uses; we have to consider them as such and lay out what could be with Merleau-Ponty’s way and see how all the approaches compare in the end. Of course, this does not mean erasing all of film history and disregarding the classical way; it means that we can look at films from a perspective that the classical approach may not be able to see. (shrink)

With the development of technology, news media and film and television media are spreading faster and faster, and at the same time, the spread of rumors is also accelerated. This article briefly describes the application of artificial intelligence in news media and film and television media using a back-propagation neural network algorithm to reform refutation of rumors in news media and film and television media, and compared it with K-means and support vector machine algorithms in simulation experiments. (...) The results showed that the BPNN-based rumor recognition model had better recognition performance and shorter recognition time; it was more accurate in recognizing Weibo texts that were complete and faster in recognizing bullet screen comments that were short; the BPNN-based rumor recognition model also had the lowest false detection cost and performed stably when being used in actual Weibo platform and bullet screen video website. (shrink)

Too often we relegate criticism of films to merely a rational or cognitive treatment of possible interpretations or meanings of the film under review. This is short sighted. After exploring the nature of the critical film review, this paper examines some of the potential vices that are found in film criticism today (such as “cerebralization,” “narrative fixation,” and “anticipatory blindness”), and highlights some of the virtues of a good film critic (such as “context sensitivity,” “aesthetic (...) experiencing,” and “value maximization”). (shrink)

This paper explores the mystical structure of education as Bildung in medieval theologian and Dominican friar Meister Eckhart’s work and the 2010 French film Of Gods and Men (Des Hommes et Des Dieux). I start this paper with a short introductory sketch of the Bildung tradition, in order to situate my discussion of Eckhart within the more well-known humanist tradition. Here, I claim that Bildung (as we understand it today through the classic Bildung philosophers) points back to its (...) theological heritage and horizon of meaning, when it is claimed as the general tekhnê (art, craft) of making oneself at home in the world with and through others. In my first step, I then explore the intellectual heritage of this mystical structure of Bildung. Drawing on a range of Meister Eckhart’s writings (esp. his German sermons), I elaborate three features pivotal to his concept of Bildung (as image-ing) of the imago Dei (image of God) in the human soul/action: (1) divine grace, (2) human cultivation and (3) the harmonisation of both in (what I shall call) ‘careful gestures'. In my concluding second step, I illustrate this mystical structure of Eckhartian Bildung—with a particular focus on the emergence of careful gestures—through the motion picture Des Hommes et Des Dieux. (shrink)

Poststructuralism changes the way we understand the relations between human beings, their culture, and the world. Following a brief account of the historical relationship between structuralism and poststructuralism, this Very Short Introduction traces the key arguments that have led poststructuralists to challenge traditional theories of language and culture. Whilst the author discusses such well-known figures as Barthes, Foucault, Derrida, and Lacan, she also draws pertinent examples from literature, art, film, and popular culture, unfolding the poststructuralist account of what (...) it means to be a human being. (shrink)

In 2002, a remake of the 1975 film Rollerball was released in theaters. It flopped at the box-office, disappearing quickly from movie screens and reappearing shortly thereafter on home video. While aesthetically horrendous, the remake of Rollerball is instructive, as it provides a point of contrast to the original film, highlighting a change in our culture’s manner of engagement with the difficult philosophical problem of nihilism. Both films share a roughly similar plot, yet in the differing manners that (...) they explore and develop that plot, we can glimpse two separate ways in which nihilism may be discovered, confronted and dealt with. (shrink)

In the context of the well-recognized dialogue between faith and film culture, this article considers Ang Lee's award-winning and controversial film, Brokeback Mountain . Against the misinterpretations and ideological rhetoric that coopted the film, it effects a close reading of the narrative, tracing the development of the film's central theme, the constitutive vocation of the human being to give and receive love, an experience touched by human sinfulness and divine grace. After analyzing the film's masterful (...) adaptation of the short story on which it is based, its complex use of metaphorical language and its rich, expressive soundtrack, the article concludes with a consideration of the epilogue of the film as representing a breakthrough of grace and as an expression of the redeeming power of love. (shrink)

High artistic achievements were repeatedly connected with poetry in the tradition of Western aesthetical thought, and the poetry with eliciting emotions. The same has happened within the tradition of film reviewing and theorising: poetry has been repeatedly evoked as a paradigmatic artistic achievement of particular films. But among the different affective states that can be elicited in humans by arts, attribution of ‘poetry’ typically addresses the eliciting and articulation of particular general moods, not the specific, episodic, short-term emotions. (...) In this paper, specified are the differences among emotions and moods, and how a distinct mood is achieved is demonstrated by the close analysis of the introductory descriptive scene in the film Citizen Kane. However, the crucial question is how very different and heterogeneous stylistic means pointed out in the analysis of the scene could elicit a particular, unique, holistic mood. In short, the answer is given by understanding that in the same way in which the moods selectively regulate our relations toward the world, choosing for the perception mood-congruent features of the world to sustain a particular mood, so the filmmakers choose a repertory of stylistic solutions congruent with the selectivity of the intended mood to elicit it in the immersed film viewer. (shrink)

This article explores Catherine Malabou’s philosophical foray into neuroscience, especially her continuing work on the topics of brain plasticity and epigenesis. I lay the groundwork for a productive intersection of Malabou’s philosophy with Lacanian psychoanalytic film theory, despite Malabou’s tendency to treat the brain’s plasticity as an issue beyond the scope of the Freudian-Lacanian conception of the unconscious. Through consideration of Todd McGowan’s development of a Lacanian ontology, and by reference to the structure of derivative finance in late capitalism, (...) especially as depicted in The Big Short (Adam McKay, 2015), the article argues in favor of an epigenesis of desire, in which attentiveness to the sedimented layers and conflicted temporalities of the brain’s synaptic connections may prove illuminating for philosophical studies of films that adopt a pedagogical stance toward recent historical or political events. (shrink)

From a perspective of multiculturalism, this paper aims to analyze Ang Lee’s Wedding Banquet and Brokeback Mountain by elaborating on the issues of sex/gender/identity in the hope of exploring the process and problematics of cultural formations in the era of globalization characterized by multiculturalism. Based on Judith Buthler’s deconstructive/postmodernist view of sex/gender/identity, the first part of this essay evaluates simultaneously both the positive and negative aspects of these two films; whereas Deleuze’s literary aesthetics of minor literature offers me a subtle (...) perspective on Ang Lee’s extraordinary achievement in creating a minoritarian artistic work that exposes the complexity of human psyche/desire, which constitutes the second part of this essay. In addition, both parts intend to reexamine, from a perspective of multiculturalism, how Ang Lee’s special micropolitics/aesthetics enables him to rewrite successfully Annie Proulx’s short story for the screen so as to create a globally popular American love story that not only distinguishes him from the mediocre Hollywood commercial romance film makers but also simultaneously brings him fame and profit. (shrink)

Lyotard’s references to film and video are so limited, it should be relatively easy to expand his repertoire and consider his thoughts in relation to those of my own. But I have struggled, and skirted round my chosen topic for too long; how can his ideas be brought to play productively to my own ends – to consider the relationship of performance art to film? Perhaps that is the problem: I have sought a productive return on my investment, (...) rather than light that match simply to watch it burn. Listen to me, then, as I set fire to the skin of the film and confront the tangled mess of melted celluloid: after the performance. This article considers aspects of Marina Abramović in The Artist is Present (dir. Akers, 2012), Stuart Brisley’s performance in Ghost Dance (dir. McMullen, 1983) and a short video and dance by Kiff Bamford. (shrink)

Woman and Authority in Ian McEwan's "Conversation with a Cupboard Man" and Its Film Adaptation The paper analyzes Ian McEwan's short story "Conversation with a Cup-board Man" and its film adaptation made in Poland by director Mariusz Grzegorzek in 1993. In many works McEwan shows women in more positive light than men. This short story, however, deals with a mother's total domination of her son's life. The text is in the form of first-person narration of the (...) son but it is the figure of the mother that is of utmost importance.The protagonist describes his life from his childhood. His mother wanted him to remain a baby as long as possible, depriving him of free will and leaving him totally dependent on her. Her attitude changed when she found a partner. The protagonist, now seventeen, had rapidly to grow up from a baby into an adult. Childhood and total passivity remain for him ideals to be pursued, and a cramped cupboard becomes his favourite environment. The influence of his upbringing remains with him for ever. After analyzing the short story the paper explores parallels to other works by McEwan and other writers. The importance of the use of the indeterminate article in the title is discussed. Attention is given to the issue of defamiliarization. And the ambivalent attitude of the protagonist towards his mother is examined.The second part of the paper deals with the film adaptation. Grzegorzek has imaginatively developed the short story into a full-blown feature film. It preserves most of the important elements of the short story, at the same time providing new material largely in keeping with the original's tone. The director not only extrapolates, inventing new scenes to fill in the short story's unspoken gaps but also skilfully changes the narrator's comments into scenes, and this is not purely a change from telling into showing. The paper discusses the imagery of the movie, especially Oedipal motifs, references to Christ, and the impression of blood-red lips. It stresses the stronger role of the teacher from the home and his influence on the only independent action of the protagonist—the revenge on Pus-face. It is also important that the film omits any verbal expression of the protagonist's hatred towards his mother. (shrink)

Film, Samuel Beckett's 1964 short starring Buster Keaton, dubbed by Deleuze as ‘The Greatest Irish Film’, is a seminal text in the latter's cinematic canon as it helps us to extrapolate the transition from the Bergson-based movement-image of Cinema 1 to the Nietzschean time-image of Cinema 2. Film is unique insofar as its narrative traverses and progressively destroys the action-, perception- and affection-images that constitute the movement-image as a whole, using Keaton's body, and more importantly his (...) face, as a means of attaining a pure intensity or Entity abstracted from all spatio-temporal coordinates, a condition of exhaustion/saturation that Deleuze and Guattari call, ‘non-human becoming’. Beckett's film is predicated on Bishop Berkeley's fundamental philosophical principle, esse est percipi (to be is to be perceived) and, using Keaton as its protagonist, raises the question of whether it is possible to escape perception, not only by a third party, but also by oneself. The latter is ‘played’ by the camera itself, which ‘stalks’ Keaton from behind, taking great pains not to exceed a 45-degree ‘angle of immunity’ (lest Buster experience percipi or the anguish of perceivedness) until the film's final close-up when he comes face to face with his own self-perception and affective annihilation. Film's denouement thus deconstructs the very nature of conventional cinematic language, whereby filmic suture – the enfolding of character, camera and spectatorial ‘viewing-views’ into a unified field of vision – gives way to a perspective where, at the very moment that the perceptive/affective body dies, the work of filmic art gives birth to itself as a being of pure sensation, exceeding lived experience. (shrink)

Evolutionary or biocultural theorizing about horror films has been slow to gain traction in film studies, but the field has seen two recent book publications, Mastering Fear by Rikke Schubart and Primal Roots of Horror Cinema by Carrol L. Fry. Unfortunately, neither book is poised to make a substantial impact on evolutionary horror film theory. Mastering Fear ultimately undermines its own engagement with evolutionary social science, and Primal Roots of Horror Cinema stops short of contributing substantially to (...) the field beyond its compelling argument for the relevance of evolutionary social science to film studies. Plenty of work remains to be done at the fertile junction between evolutionary psychology and horror film. (shrink)