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Philosophie und das bewegte Bild: Brechungen der Realität von John Mullarkey (2008,-
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eBay-Artikelnr.:126805465153
Artikelmerkmale
- Artikelzustand
- ISBN
- 9780230285019
Über dieses Produkt
Product Identifiers
Publisher
Palgrave Macmillan The Limited
ISBN-10
0230285015
ISBN-13
9780230285019
eBay Product ID (ePID)
93004777
Product Key Features
Number of Pages
Xviii, 286 Pages
Language
English
Publication Name
Philosophy and the Moving Image: Refractions of Reality
Subject
Film / General, Television / History & Criticism, General, Film / History & Criticism
Publication Year
2008
Type
Textbook
Subject Area
Philosophy, Performing Arts
Format
Trade Paperback
Dimensions
Item Height
0.7 in
Item Weight
16 Oz
Item Length
8.6 in
Item Width
5.4 in
Additional Product Features
Intended Audience
Scholarly & Professional
Dewey Edition
22
Reviews
'In this engaging, comprehensive, incisive work, Mullarkey addresses whether film can philosophize on its own, adding something original, rather than simply illustrating concepts that philosophers extract from their own discourse...An indispensible work for students/scholars in philosophy of film/art, aesthetics, and film studies.' D. W. Rothermel, CHOICE 'This book, in some sense, brings to an end a certain phase of film theorizing and instead looks toward something quite new: how theories have been written and how they may be written, how they fall into types, how these types are filling out not a logical grid but a grid of the anxieties we feel, and the defenses we erect toward the everyday. A wonderful, ground-breaking book.' - Edward Branigan (University of California, Santa Barbara), author of Projecting a Camera: Language-Games in Film Theory and Narrative Comprehension and Film 'Highly original both in its concern for avoiding the illustrative approach generally favoured by philosophers, and in the speculative ambition that looms behind the critical edge of its readings of contemporary film- philosophers. The very question "when does the film itself happen?" is a fundamental one, which is rarely addressed. Mullarkey is opening the door to a brand new type of philosophical engagement with films.' - Elie During (Universite de Paris X-Nanterre), author of Matrix: Machine philosophique 'Mullarkey brings an informed, critical view to a number of theories from both the Continental tradition (his specialization) and the Anglo-American tradition... Refractions of Reality is an original and valuable contribution to the field of film philosophy...It is perhaps most valuable in its highly successful dislocation of the rigid, myopic perspective of so many contemporary theories' - Joseph Mai, Notre Dame Philosophy Reviews, 'In this engaging, comprehensive, incisive work, Mullarkey addresses whether film can philosophize on its own, adding something original, rather than simply illustrating concepts that philosophers extract from their own discourse...An indispensible work for students/scholars in philosophy of film/art, aesthetics, and film studies.' D. W. Rothermel, CHOICE 'This book, in some sense, brings to an end a certain phase of film theorizing and instead looks toward something quite new: how theories have been written and how they may be written, how they fall into types, how these types are filling out not a logical grid but a grid of the anxieties we feel, and the defenses we erect toward the everyday. A wonderful, ground-breaking book.' -Edward Branigan (University of California, Santa Barbara), author of Projecting a Camera: Language-Games in Film Theory and Narrative Comprehension and Film 'Highly original both in its concern for avoiding the illustrative approach generally favoured by philosophers, and in the speculative ambition that looms behind the critical edge of its readings of contemporary film- philosophers. The very question "when does the film itself happen?" is a fundamental one, which is rarely addressed. Mullarkey is opening the door to a brand new type of philosophical engagement with films.' - Elie During (Universite de Paris X-Nanterre), author of Matrix: Machine philosophique 'Mullarkey brings an informed, critical view to a number of theories from both the Continental tradition (his specialization) and the Anglo-American tradition...Refractions of Realityis an original and valuable contribution to the field of film philosophy...It is perhaps most valuable in its highly successful dislocation of the rigid, myopic perspective of so many contemporary theories' - Joseph Mai,Notre Dame Philosophy Reviews, 'In this engaging, comprehensive, incisive work, Mullarkey addresses whether film can philosophize on its own, adding something original, rather than simply illustrating concepts that philosophers extract from their own discourse…An indispensible work for students/scholars in philosophy of film/art, aesthetics, and film studies.' D. W. Rothermel, CHOICE 'This book, in some sense, brings to an end a certain phase of film theorizing and instead looks toward something quite new: how theories have been written and how they may be written, how they fall into types, how these types are filling out not a logical grid but a grid of the anxieties we feel, and the defenses we erect toward the everyday. A wonderful, ground-breaking book.' - Edward Branigan (University of California, Santa Barbara), author of Projecting a Camera: Language-Games in Film Theory and Narrative Comprehension and Film 'Highly original both in its concern for avoiding the illustrative approach generally favoured by philosophers, and in the speculative ambition that looms behind the critical edge of its readings of contemporary film- philosophers. The very question "when does the film itself happen?" is a fundamental one, which is rarely addressed. Mullarkey is opening the door to a brand new type of philosophical engagement with films.' - Elie During (Université de Paris X-Nanterre), author of Matrix: Machine philosophique 'Mullarkey brings an informed, critical view to a number of theories from both the Continental tradition (his specialization) and the Anglo-American tradition... Refractions of Reality is an original and valuable contribution to the field of film philosophy...It is perhaps most valuable in its highly successful dislocation of the rigid, myopic perspective of so many contemporary theories' - Joseph Mai, Notre Dame Philosophy Reviews, 'In this engaging, comprehensive, incisive work, Mullarkey addresses whether film can philosophize on its own, adding something original, rather than simply illustrating concepts that philosophers extract from their own discourse...An indispensible work for students/scholars in philosophy of film/art, aesthetics, and film studies.' D. W. Rothermel, CHOICE 'This book, in some sense, brings to an end a certain phase of film theorizing and instead looks toward something quite new: how theories have been written and how they may be written, how they fall into types, how these types are filling out not a logical grid but a grid of the anxieties we feel, and the defenses we erect toward the everyday. A wonderful, ground-breaking book.' - Edward Branigan (University of California, Santa Barbara), author of Projecting a Camera: Language-Games in Film Theory and Narrative Comprehension and Film 'Highly original both in its concern for avoiding the illustrative approach generally favoured by philosophers, and in the speculative ambition that looms behind the critical edge of its readings of contemporary film- philosophers. The very question "when does the film itself happen?" is a fundamental one, which is rarely addressed. Mullarkey is opening the door to a brand new type of philosophical engagement with films.' - Elie During (Université de Paris X-Nanterre), author of Matrix: Machine philosophique 'Mullarkey brings an informed, critical view to a number of theories from both the Continental tradition (his specialization) and the Anglo-American tradition... Refractions of Reality is an original and valuable contribution to the field of film philosophy...It is perhaps most valuable in its highly successful dislocation of the rigid, myopic perspective of so many contemporary theories' - Joseph Mai, Notre Dame Philosophy Reviews, 'In this engaging, comprehensive, incisive work, Mullarkey addresses whether film can philosophize on its own, adding something original, rather than simply illustrating concepts that philosophers extract from their own discourse An indispensible work for students/scholars in philosophy of film/art, aesthetics, and film studies.' D.W.Rothermel, CHOICE '...addresses the question of the relation between art and philosophy - the age-old problem of aesthetics - in an entirely original manner by examining how film changes the terms of this debate.' '...to summarize Mullarkey's text in terms of his criticism of other film theorists does not do justice to the intricate readings and impressive scope of Mullarkey's overall approach. His engagement with figures such as Jacques Rancière, Edward Branigan, Joseph Anderson, Badiou, and Cavell (to name a few) lead him to fascinating 'partial' observations on the nature of film.' 'The gesture Mullarkey employs - a graceful, seamless move from critical analysis to constructive observation - suggests a pluralistic strategy based on an ethics of affirmation and acknowledgement.' '...as a treatment of the question 'what does film mean for philosophy?', Mullarkey offers an intricate and considered study - with important consequences for philosophy in terms of what can be said, and what may be gestured to only by attention to what is left unsaid - that is to say, through a constellation of plural andvariably flawed refractions.' - Amanda Dennis in The International Journal for Philosophical Studies 'This book, in some sense, brings to an end a certain phase of film theorizing and instead looks toward something quite new: how theories have been written and how they may be written, how they fall into types, how these types are filling out not a logical grid but a grid of the anxieties we feel, and the defenses we erect toward the everyday. A wonderful, ground-breaking book.' - Edward Branigan (University of California, Santa Barbara), author of Projecting a Camera: Language-Games in Film Theory and Narrative Comprehension and Film 'Highly original both in its concern for avoiding the illustrative approach generally favoured by philosophers, and in the speculative ambition that looms behind the critical edge of its readings of contemporary film- philosophers. The very question "when does the film itself happen?" is a fundamental one, which is rarely addressed. Mullarkey is opening the door to a brand new type of philosophical engagement with films.' - Elie During (Université de Paris X-Nanterre), author of Matrix: Machine philosophique 'Mullarkey brings an informed, critical view to a number of theories from both the Continental tradition (his specialization) and the Anglo-American tradition...Refractions of Reality is an original and valuable contribution to the field of film philosophy...It is perhaps most valuablein its highly successful dislocation of the rigid, myopic perspective of so many contemporary theories' - Joseph Mai, Notre Dame Philosophy Reviews, 'In this engaging, comprehensive, incisive work, Mullarkey addresses whether film can philosophize on its own, adding something original, rather than simply illustrating concepts that philosophers extract from their own discourse'¦An indispensible work for students/scholars in philosophy of film/art, aesthetics, and film studies.' ' D.W.Rothermel, CHOICE '...addresses the question of the relation between art and philosophy - the age-old problem of aesthetics - in an entirely original manner by examining how film changes the terms of this debate.' '...to summarize Mullarkey's text in terms of his criticism of other film theorists does not do justice to the intricate readings and impressive scope of Mullarkey's overall approach. His engagement with figures such as Jacques Rancière, Edward Branigan, Joseph Anderson, Badiou, and Cavell (to name a few) lead him to fascinating 'partial' observations on the nature of film.' 'The gesture Mullarkey employs - a graceful, seamless move from critical analysis to constructive observation - suggests a pluralistic strategy based on an ethics of affirmation and acknowledgement.' '...as a treatment of the question 'what does film mean for philosophy?', Mullarkey offers an intricate and considered study - with important consequences for philosophy in terms of what can be said, and what may be gestured to only by attention to what is left unsaid - that is to say, through a constellation of plural and variably flawed refractions.' - Amanda Dennis in The International Journal for Philosophical Studies 'This book, in some sense, brings to an end a certain phase of film theorizing and instead looks toward something quite new: how theories have been written and how they may be written, how they fall into types, how these types are filling out not a logical grid but a grid of the anxieties we feel, and the defenses we erect toward the everyday. A wonderful, ground-breaking book.' - Edward Branigan (University of California, Santa Barbara), author of Projecting a Camera: Language-Games in Film Theory and Narrative Comprehension and Film 'Highly original both in its concern for avoiding the illustrative approach generally favoured by philosophers, and in the speculative ambition that looms behind the critical edge of its readings of contemporary film- philosophers. The very question "when does the film itself happen?" is a fundamental one, which is rarely addressed. Mullarkey is opening the door to a brand new type of philosophical engagement with films.' - Elie During (Université de Paris X-Nanterre), author of Matrix: Machine philosophique 'Mullarkey brings an informed, critical view to a number of theories from both the Continental tradition (his specialization) and the Anglo-American tradition... Refractions of Reality is an original and valuable contribution to the field of film philosophy...It is perhaps most valuable in its highly successful dislocation of the rigid, myopic perspective of so many contemporary theories' - Joseph Mai, Notre Dame Philosophy Reviews, 'In this engaging, comprehensive, incisive work, Mullarkey addresses whether film can philosophize on its own, adding something original, rather than simply illustrating concepts that philosophers extract from their own discourse'¦An indispensible work for students/scholars in philosophy of film/art, aesthetics, and film studies.' ' D.W.Rothermel, CHOICE '...addresses the question of the relation between art and philosophy - the age-old problem of aesthetics - in an entirely original manner by examining how film changes the terms of this debate.' '...to summarize Mullarkey's text in terms of his criticism of other film theorists does not do justice to the intricate readings and impressive scope of Mullarkey's overall approach. His engagement with figures such as Jacques Rancière, Edward Branigan, Joseph Anderson, Badiou, and Cavell (to name a few) lead him to fascinating 'partial' observations on the nature of film.' 'The gesture Mullarkey employs - a graceful, seamless move from critical analysis to constructive observation - suggests a pluralistic strategy based on an ethics of affirmation and acknowledgement.' '...as a treatment of the question 'what does film mean for philosophy?', Mullarkey offers an intricate and considered study - with important consequences for philosophy in terms of what can be said, and what may be gestured to only by attention to what is left unsaid - that is to say, through a constellation of plural and variably flawed refractions.' - Amanda Dennis in The International Journal for Philosophical Studies 'This book, in some sense, brings to an end a certain phase of film theorizing and instead looks toward something quite new: how theories have been written and how they may be written, how they fall into types, how these types are filling out not a logical grid but a grid of the anxieties we feel, and the defenses we erect toward the everyday. A wonderful, ground-breaking book.' - Edward Branigan (University of California, Santa Barbara), author of Projecting a Camera: Language-Games in Film Theory and Narrative Comprehension and Film 'Highly original both in its concern for avoiding the illustrative approach generally favoured by philosophers, and in the speculative ambition that looms behind the critical edge of its readings of contemporary film- philosophers. The very question "when does the film itself happen?" is a fundamental one, which is rarely addressed. Mullarkey is opening the door to a brand new type of philosophical engagement with films.' - Elie During (Université de Paris X-Nanterre), author of Matrix: Machine philosophique 'Mullarkey brings an informed, critical view to a number of theories from both the Continental tradition (his specialization) and the Anglo-American tradition... Refractions of Reality is an original and valuable contribution to the field of film philosophy...It is perhaps most valuable in its highly successful dislocation of the rigid, myopic perspective of so many contemporary theories' - Joseph Mai, Notre Dame Philosophy Reviews, 'In this engaging, comprehensive, incisive work, Mullarkey addresses whether film can philosophize on its own, adding something original, rather than simply illustrating concepts that philosophers extract from their own discourse An indispensible work for students/scholars in philosophy of film/art, aesthetics, and film studies.' D.W.Rothermel, CHOICE '...addresses the question of the relation between art and philosophy - the age-old problem of aesthetics - in an entirely original manner by examining how film changes the terms of this debate.' '...to summarize Mullarkey's text in terms of his criticism of other film theorists does not do justice to the intricate readings and impressive scope of Mullarkey's overall approach. His engagement with figures such as Jacques Rancire, Edward Branigan, Joseph Anderson, Badiou, and Cavell (to name a few) lead him to fascinating 'partial' observations on the nature of film.' 'The gesture Mullarkey employs - a graceful, seamless move from critical analysis to constructive observation - suggests a pluralistic strategy based on an ethics of affirmation and acknowledgement.' '...as a treatment of the question 'what does film mean for philosophy?', Mullarkey offers an intricate and considered study - with important consequences for philosophy in terms of what can be said, and what may be gestured to only by attention to what is left unsaid - that is to say, through a constellation of plural and variably flawed refractions.' - Amanda Dennis in The International Journal for Philosophical Studies 'This book, in some sense, brings to an end a certain phase of film theorizing and instead looks toward something quite new: how theories have been written and how they may be written, how they fall into types, how these types are filling out not a logical grid but a grid of the anxieties we feel, and the defenses we erect toward the everyday. A wonderful, ground-breaking book.' - Edward Branigan (University of California, Santa Barbara), author of Projecting a Camera: Language-Games in Film Theory and Narrative Comprehension and Film 'Highly original both in its concern for avoiding the illustrative approach generally favoured by philosophers, and in the speculative ambition that looms behind the critical edge of its readings of contemporary film- philosophers. The very question "when does the film itself happen?" is a fundamental one, which is rarely addressed. Mullarkey is opening the door to a brand new type of philosophical engagement with films.' - Elie During (Universit de Paris X-Nanterre), author of Matrix: Machine philosophique 'Mullarkey brings an informed, critical view to a number of theories from both the Continental tradition (his specialization) and the Anglo-American tradition...Refractions of Reality is an original and valuable contribution to the field of film philosophy...It is perhaps most valuable in its highly successful dislocation of the rigid, myopic perspective of so many contemporary theories' - Joseph Mai, Notre Dame Philosophy Reviews
Number of Volumes
1 vol.
Illustrated
Yes
Dewey Decimal
791.4301
Table Of Content
Acknowledgements Preface: The Film-Envy of Philosophy Introduction: Nobody Knows Anything! Illustrating Manuscripts Bordwell and Other Cogitators zizek and the Cinema of Perversion Deleuze's Kinematic Philosophy Cavell, Badiou, and Other Ontologists Expanded Cognitions and the Speeds of Cinema Fabulation, Process and Event Refractions of Reality Or, What is Thinking Anyway? Conclusion: Code Unknown - A Bastard Theory for a Bastard Art Notes Bibliography Index
Synopsis
This is the first book to explore all central issues surrounding the relationship between the film-image and philosophy. It tackles the work of particular philosophers of film (Zizek, Deleuze and Cavell) as well as general philosophical positions (Cognitivist and Culturalist), and analyses the ability of film to teach and create philosophy., Why is film becoming increasingly important to philosophers? Is it because it can be a helpful tool in teaching philosophy, in illustrating it? Or is it because film can also think for itself, can create its own philosophy? Indeed many film-philosophers claim that film does more than merely illustrate philosophical texts: rather, ï¬�lm itself can philosophize in direct audio-visual terms. Too often, however, when philosophers claim to find indigenous philosophical value in cinema, it is only on account of refracting it through their own thought: film philosophizes because it accords with a favoured kind of extant philosophy. Philosophy and the Moving Image : Refractions of Reality is the first book to examine all the central issues surrounding the vexed relationship between the film-image and philosophy. In it, John Mullarkey tackles the work of particular philosophers and theorists (Žižek, Deleuze, Cavell, Bordwell, Badiou, Branigan, Rancière, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Psychoanalytic and Phenomenological). Moreover, he also offers an incisive analysis and explanation of several prominent forms of film theorizing, providing a meta logical account of their mutual advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising, and re-visioning the field of film theory as a whole. Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. In particular: must philosophy (and theory) always transform ï¬�lm into pre-texts for illustration? What would it take to imagine how ï¬�lm might itself theorise without reducing it to standard forms of thought and philosophy? Finally, and fundamentally, must we change our deï¬�nition of philosophy and even of thought itself in order to accommodate the speciï¬�cities that come with the claim that ï¬�lm can produce philosophical theory?, This is the first book to explore all central issues surrounding the relationship between the film-image and philosophy. It tackles the work of particular philosophers of film (zizek, Deleuze and Cavell) as well as general philosophical positions (Cognitivist and Culturalist), and analyses the ability of film to teach and create philosophy., This is the first book to explore all central issues surrounding the relationship between the film-image and philosophy. It tackles the work of particular philosophers of film (Žižek, Deleuze and Cavell) as well as general philosophical positions (Cognitivist and Culturalist), and analyses the ability of film to teach and create philosophy.
LC Classification Number
PN1993.5
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- _***a (95)- Bewertung vom Käufer.Letzte 6 MonateBestätigter KaufI feel that the seller offered a great deal, and the book was better than described! What I really liked? That my book was carefully packaged to endure the rigors of shipping! Sometimes when I buy book from Amazon, I may have to return them up to 2 times to get a book that isn’t messed up!The Classic Italian Cook Book By Marcella Hazan HC Book From Ricasoli The Class (Nr. 127084702690)
- h***h (118)- Bewertung vom Käufer.Letzter MonatBestätigter KaufVery good price; great packaging and quick shipping. Item as described—great seller!