Philosophy and the Moving Image

2021 ◽  
Author(s):  
Noël Carroll
Keyword(s):  
Political Philosophy ◽  
Motion Pictures ◽  
Philosophical Psychology ◽  
Moving Image ◽  
The Arts ◽  
History Of ◽  
Computer Generated Imagery

Philosophy and the Moving image is a collection of articles by Noël Carroll involving many of the ways in which the moving image – including cinema, television, video, and computer generated imagery – can intersect with philosophy. These intersections can include discussions of movies that do philosophy outright, and movies that illustrate philosophical themes as well as discussions various philosophical issues that moving-image practices can provoke. The book shows that movies make contact with many of the established branches of philosophy, including metaphysics, epistemology, philosophical psychology, ethics, political philosophy, and the philosophy of the arts, specifically music and dance. The book also includes essays on the history of the philosophy of motion pictures, discussing the work of Balász, Eisenstein, Cavell, and Danto.

Spotlight on Film: All the World's a Stage

1987 ◽  
Vol 43 (1) ◽  
pp. 9-11
Author(s):  
Arthur Knight
Keyword(s):  
Soviet Union ◽  
Motion Picture ◽  
Motion Pictures ◽  
Entire Group ◽  
Nineteen Twenties ◽  
The Arts ◽  
The Soviet Union ◽  
The World ◽  
History Of ◽  
Film Making

One phenomenon dominates the history of motion pictures: at one time or another, a single country has emerged as the most creative and vital source of film making on the international scene. It is almost as if a spotlight moved across the stages of the world, pausing now here, now there, to illuminate the work of an entire group of artists. This was perhaps understandable in the Soviet Union during the mid-Nineteen-Twenties, when a new government actively encouraged experimentation in all the arts, and particularly the art of the motion picture.

The British Artists’ Film and Video Study Collection: a resource for moving-image research

2009 ◽  
Vol 34 (3) ◽  
pp. 16-20
Author(s):  
David Curtis ◽  
Steven Ball
Keyword(s):  
Research Priorities ◽  
Video Study ◽  
Moving Image ◽  
Art And Design ◽  
Moving Images ◽  
Digital Storage ◽  
The Arts ◽  
History Of ◽  
The University ◽  
Film And Video

The British Artists’ Film and Video Study Collection is a small specialist collection dedicated to the history of artists’ moving images in Britain, which is based at Central Saint Martins College of Art and Design at the University of the Arts London. The Collection services the needs of both academics and curators in this specialist area. Its founders describe itsraison d’êtreand collecting policy, and outline some of the challenges of working in an environment susceptible to changing research priorities and uncertain digital storage standards.

Cinema and its image

2014 ◽  
Vol 7 (2) ◽  
pp. 225-245 ◽  
Author(s):  
Amal Elgamal
Keyword(s):  
Fine Arts ◽  
Motion Pictures ◽  
Arab Countries ◽  
Religious Leaders ◽  
Moving Image ◽  
Universal Language ◽  
History Of ◽  
Artistic Manner

Cinema, or motion pictures, is known as ‘the art of the moving image’. Historically, fine arts have never been prohibited by the three monotheistic religions, but after the emergence of cinema, some religious leaders not only considered it ‘undesirable’ but also called for its outright prohibition. However, no consensus has ever been reached among jurists. Cinema is a universal language and a method of narration, recounting and storytelling whose popularity exceeds that of any other art as it is more entertaining and bedazzling. Egypt was a pioneer among Arab countries in the field of cinema, producing immortal films that addressed the sufferings and concerns of its people in an artistic manner. Throughout the history of Arab cinema its trends have varied from realism and neo-realism to biography, which was introduced by Youssef Chahine. Moreover, the evolution of cinema in Arab countries, notably Egypt, Syria, Morocco, Tunisia and Lebanon, could not have been achieved without breaking taboos and tackling problematic issues within society.

Introduction: Emotion, History and the Arts

2018 ◽  
Vol 7 (2) ◽  
pp. 117-128 ◽  
Author(s):  
Erin Sullivan ◽  
Marie Louise Herzfeld-Schild
Keyword(s):  
Historical Change ◽  
Carson Mccullers ◽  
Emotional Life ◽  
Review Section ◽  
The Arts ◽  
Wide Range ◽  
War Correspondents ◽  
History Of ◽  
Johan Huizinga

This introduction surveys the rise of the history of emotions as a field and the role of the arts in such developments. Reflecting on the foundational role of the arts in the early emotion-oriented histories of Johan Huizinga and Jacob Burkhardt, as well as the concerns about methodological impressionism that have sometimes arisen in response to such studies, the introduction considers how intensive engagements with the arts can open up new insights into past emotions while still being historically and theoretically rigorous. Drawing on a wide range of emotionally charged art works from different times and places—including the novels of Carson McCullers and Harriet Beecher-Stowe, the private poetry of neo-Confucian Chinese civil servants, the photojournalism of twentieth-century war correspondents, and music from Igor Stravinsky to the Beatles—the introduction proposes five ways in which art in all its forms contributes to emotional life and consequently to emotional histories: first, by incubating deep emotional experiences that contribute to formations of identity; second, by acting as a place for the expression of private or deviant emotions; third, by functioning as a barometer of wider cultural and attitudinal change; fourth, by serving as an engine of momentous historical change; and fifth, by working as a tool for emotional connection across communities, both within specific time periods but also across them. The introduction finishes by outlining how the special issue's five articles and review section address each of these categories, while also illustrating new methodological possibilities for the field.

Reuniting the Arts: Notes on the History of an Idea

1994 ◽  
Vol 18 (1) ◽  
pp. 3-9 ◽  
Author(s):  
Wolfgang Domling
Keyword(s):  
The Arts ◽  
History Of

Utopophobia

2019 ◽  
Author(s):  
David Estlund
Keyword(s):  
Political Philosophy ◽  
Social Justice ◽  
Political Thought ◽  
Political Action ◽  
Ideal Theory ◽  
Theory Of Justice ◽  
Sound Theory ◽  
Theory Versus ◽  
History Of ◽  
Practical Guidance

Throughout the history of political philosophy and politics, there has been continual debate about the roles of idealism versus realism. For contemporary political philosophy, this debate manifests in notions of ideal theory versus nonideal theory. Nonideal thinkers shift their focus from theorizing about full social justice, asking instead which feasible institutional and political changes would make a society more just. Ideal thinkers, on the other hand, question whether full justice is a standard that any society is likely ever to satisfy. And, if social justice is unrealistic, are attempts to understand it without value or importance, and merely utopian? This book argues against thinking that justice must be realistic, or that understanding justice is only valuable if it can be realized. The book does not offer a particular theory of justice, nor does it assert that justice is indeed unrealizable—only that it could be, and this possibility upsets common ways of proceeding in political thought. The book's author engages critically with important strands in traditional and contemporary political philosophy that assume a sound theory of justice has the overriding, defining task of contributing practical guidance toward greater social justice. Along the way, it counters several tempting perspectives, including the view that inquiry in political philosophy could have significant value only as a guide to practical political action, and that understanding true justice would necessarily have practical value, at least as an ideal arrangement to be approximated. Demonstrating that unrealistic standards of justice can be both sound and valuable to understand, the book stands as a trenchant defense of ideal theory in political philosophy.

Between Specters of War and Visions of Peace

2019 ◽  
Author(s):  
Gerald M. Mara
Keyword(s):  
Political Philosophy ◽  
International Relations ◽  
Political Theory ◽  
Democratic Theory ◽  
First Century ◽  
Political Life ◽  
Frames Of Reference ◽  
War And Peace ◽  
History Of ◽  
Western Democracies

This book examines how ideas of war and peace have functioned as organizing frames of reference within the history of political theory. It interprets ten widely read figures in that history within five thematically focused chapters that pair (in order) Schmitt and Derrida, Aquinas and Machiavelli, Hobbes and Kant, Hegel and Nietzsche, and Thucydides and Plato. The book’s substantive argument is that attempts to establish either war or peace as dominant intellectual perspectives obscure too much of political life. The book argues for a style of political theory committed more to questioning than to closure. It challenges two powerful currents in contemporary political philosophy: the verdict that premodern or metaphysical texts cannot speak to modern and postmodern societies, and the insistence that all forms of political theory be some form of democratic theory. What is offered instead is a nontraditional defense of the tradition and a democratic justification for moving beyond democratic theory. Though the book avoids any attempt to show the immediate relevance of these interpretations to current politics, its impetus stems very much from the current political circumstances. Since the beginning of the twenty-first century , a series of wars has eroded confidence in the progressively peaceful character of international relations; citizens of the Western democracies are being warned repeatedly about the threats posed within a dangerous world. In this turbulent context, democratic citizens must think more critically about the actions their governments undertake. The texts interpreted here are valuable resources for such critical thinking.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

Conclusion

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Driving Force ◽  
George Balanchine ◽  
Current State ◽  
The Arts ◽  
History Of ◽  
Lincoln Center

The Conclusion briefly examines the current state of the New York City Ballet under the auspices of industrial billionaire David H. Koch at Lincoln Center. In so doing, it to introduces a series of questions, warranting still more exploration, about the rapid and profound evolution of the structure, funding, and role of the arts in America through the course of the twentieth century. It revisits the historiographical problem that drives Making Ballet American: the narrative that George Balanchine was the sole creative genius who finally created an “American” ballet. In contrast to that hagiography, the Conclusion reiterates the book’s major contribution: illuminating the historical construction of our received idea of American neoclassical ballet within a specific set of social, political, and cultural circumstances. The Conclusion stresses that the history of American neoclassicism must be seen as a complex narrative involving several authors and discourses and crossing national and disciplinary borders: a history in which Balanchine was not the driving force, but rather the outcome.

Overview

2013 ◽  
pp. xii-14
Author(s):  
David Neumeyer
Keyword(s):  
Motion Pictures ◽  
Film Music ◽  
Silent Films ◽  
Feature Films ◽  
History Of ◽  
Commodity History

This chapterpresents an overview of the coverage of this volume, which is about film music studies. It chronicles the development of film music studies as a discipline and suggests that its rise is associated with the commodity history of feature films. It describes the evolution of the application of music in motion pictures, from the silent films era to the present time. This chapteralso provides an outline of the chapters in the volume.

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