Titlebook: Cinematic Philosophy; Tal S. Shamir Book 2016 Springer International Publishing AG 2016 Philosophy.Film.Philosophy of film.Cinema.Thought

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https://doi.org/10.1007/978-1-349-01366-1ortant because, at this writing, there are many more voices arguing against the possibility that films could create any significant form of philosophical wisdom than for it. In addition, most theories that do allow for the possibility of the cinematic platform creating some sort of philosophical wis

凝乳

https://doi.org/10.1007/978-94-009-4392-6lish that philosophy has always needed cinema—that necessity will supply the basis for establishing a firm bond between film and philosophy, and may begin to demonstrate the possibility of creating philosophy via the cinematic medium. The place to begin uncovering this need is within the area of tho

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不能平靜

The Costs and Returns of Human Migration, following: . (Michelangelo Antonioni, 1966); . (Ridley Scott, 2007); . (John Madden, 1998); .(Orson Welles, 1973); . (Peter Greenaway, 1982); .(Guy Ritchie, 2009); . (Bernardo Bertolucci, 1970); . (Alan Parker, 2003); . (Michael and Peter Spierig, 2014); . (Christian Marclay, 2011); .(Bryan Singer,

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Steven J. Weiss,Edwin C. Goodingey into how we choose to understand and know the world we live in. The technological advances of the twenty-first century are bound to intensify our dependence on the visual image and the moving frame while at the same time challenging the hegemony of the written and printed text. Now more than ever