New Issue of Film & Philosophy Journal

Vol 15, No 2 (2011): The Disgust Issue 

Guest Editor: Tina Kendall 

Articles 

Book Reviews 

  • Dina Iordanova, David Martin-Jones and Belén Vidal (2010) Cinema at the Periphery PDF Rowena Santos Aquino
  • Richard Greene and K. Silem Mohammad, eds. (2010) Zombies, Vampires, and Philosophy: New Life for the Undead PDF Caroline Walters
  • Joseph Mai (2010) Jean-Pierre and Luc Dardenne PDF R. D. Crano
  • Boaz Hagin (2010) Death in Classical Hollywood Cinema PDFRichard Lindley Armstrong
  • Peter Lee-Wright (2010) The Documentary Handbook PDF Wes Skolits
  • William Brown, Dina Iordanova and Leshu Torchin (2010) Moving People, Moving Images: Cinema and Trafficking in the New Europe PDF Alison Frank
  • Richard Misek (2010) Chromatic Cinema PDF Robert Barry
  • Alain Badiou (2010) Cinéma PDF Manuel Ramos
  • Annie van den Oever, ed. (2010) Ostrannenie PDF Lara Alexandra Cox
  • David Martin-Jones (2010) Scotland: Global Cinema: Genres, Modes and Identities PDF John Marmysz

Source: philms

PDF here
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PDF here

Source: philms

You meet a friend. She says that she has just seen a motion picture — say, Cache. What do you say? What do you ask? Supposing that you know that it is a current motion picture, the odds are that you respond with something like: “How was it?” or “Was it any good?” That is, even before you inquire about the specifics of the story, you are likely first to request an evaluation. Moreover, your friend will be happy to gratify you; for evaluating motion pictures is an activity that most people enjoy. We not only engage in moviegoing in anticipation of the experience of it; most of us, in addition, delight in assessing that experience afterwards and then comparing our evaluation of it with those of other viewers. -Noel Carroll
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You meet a friend. She says that she has just seen a motion picture — say, Cache. What do you say? What do you ask? Supposing that you know that it is a current motion picture, the odds are that you respond with something like: “How was it?” or “Was it any good?” That is, even before you inquire about the specifics of the story, you are likely first to request an evaluation. Moreover, your friend will be happy to gratify you; for evaluating motion pictures is an activity that most people enjoy. We not only engage in moviegoing in anticipation of the experience of it; most of us, in addition, delight in assessing that experience afterwards and then comparing our evaluation of it with those of other viewers.

-Noel Carroll

Source: philms

Sergei Eisenstein’s Audiovisual

When we draw, Paul Klee suggests that we take a line for a walk.  This book is for those who, largely free from imposed preconceptions, enjoy taking their ideas for a walk.

Robert Robertson

PDF of the book 

Source: philms

Andrey Tarkovsky’s movie is based on the original story by the Strugatsky brothers; Roadside Picnic. In an interview with Tarkovsky:  o: Is the Room of Desire an invention of Stalker7 Was it in the novel by the Strugatsky brothers upon which the film is based? What does it represent for you? Tarkovsky: In the original story by the Strugatsky brothers, which is very dif- ferent from the script, there was a place where desires were fulfllled. But this was represented by a gold orb. There was a golden orb, for whatever reason. However, in the Strugatsky story, the desires were truly fulfllled, whereas in the script this remains a mystery. You don’t know whether this is true or whether it’s the Stalker’s fantasy. For me as the author of lhe film, either choice is OK. It seems to me that it’s just as well if it is rrll a part of his fantasy-that would not affect the main point at all. What’s important is that the two travelers don’t enter the room For the PDF of the book “My pleasure, imagine a picnic.”Noonan shuddered.“What did you say?”“A picnic. Picture a forest, a country road, a meadow. Cars drive off the country road into the meadow, a group of young people get out carrying bottles, baskets of food, transistor radios, and cameras. They light fires, pitch tents, turn on the music. In the morning they leave. The animals, birds, and insects that watched in horror through the long night creep out from their hiding places. And what do they see? Old spark plugs and old filters strewn around… Rags, burnt-out bulbs, and a monkey wrench left behind… And of course, the usual mess - apple cores, candy wrappers, charred remains of the campfire, cans, bottles, somebody’s handkerchief, somebody’s penknife, torn newspapers, coins, faded flowers picked in another meadow.” The nervous animals in this analogy are the humans who venture forth after the Visitors left, discovering items and anomalies which are ordinary to those who discarded them, but incomprehensible or deadly to those who find them.”“I see, a roadside picnic.”“Precisely, a roadside picnic, on some road in the cosmos. And you ask if they will come back.”
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Andrey Tarkovsky’s movie is based on the original story by the Strugatsky brothers; Roadside Picnic. In an interview with Tarkovsky: 

o: Is the Room of Desire an invention of Stalker7 Was it in the novel by the Strugatsky brothers upon which the film is based? What does it represent for you?

Tarkovsky: In the original story by the Strugatsky brothers, which is very dif-

ferent from the script, there was a place where desires were fulfllled. But this was represented by a gold orb. There was a golden orb, for whatever reason. However, in the Strugatsky story, the desires were truly fulfllled, whereas in the script this remains a mystery. You don’t know whether this is true or whether it’s the Stalker’s fantasy. For me as the author of lhe film, either choice is OK. It seems to me that it’s just as well if it is rrll a part of his fantasy-that would not affect the main point at all. What’s important is that the two travelers don’t enter the room

For the PDF of the book

“My pleasure, imagine a picnic.”
Noonan shuddered.
“What did you say?”
“A picnic. Picture a forest, a country road, a meadow. Cars drive off the country road into the meadow, a group of young people get out carrying bottles, baskets of food, transistor radios, and cameras. They light fires, pitch tents, turn on the music. In the morning they leave. The animals, birds, and insects that watched in horror through the long night creep out from their hiding places. And what do they see? Old spark plugs and old filters strewn around… Rags, burnt-out bulbs, and a monkey wrench left behind… And of course, the usual mess - apple cores, candy wrappers, charred remains of the campfire, cans, bottles, somebody’s handkerchief, somebody’s penknife, torn newspapers, coins, faded flowers picked in another meadow.” The nervous animals in this analogy are the humans who venture forth after the Visitors left, discovering items and anomalies which are ordinary to those who discarded them, but incomprehensible or deadly to those who find them.”
“I see, a roadside picnic.”
“Precisely, a roadside picnic, on some road in the cosmos. And you ask if they will come back.”

Source: philms

Sculpting In Time by Andrey Tarkovsky

It is hard to imagine that a concept like artistic image could ever be expressed in a precise thesis, easily formulated and understandable. It is not possible, nor would one wish it to be so. I can only say that the image stretches out into infinity, and leads to the absolute. And even what is known as the ‘idea’ of the image, many dimensional and with many meanings, cannot, in the very nature of things, be put into words. But it does find expression in art. When thought is expressed in an artistic image, it means that its one form has been found, the form that comes nearest to conveying the author’s world, to making incarnate his longing for the ideal.

For the PDF

Source: philms

JEAN BAUDRILLARD- SIMULACRA AND SIMULATIONS

The simulacrum is never that which conceals the truth - it is the truth which conceals that there is none.

The simulacrum is true.

for the PDF

Source: philms

Philosophy & Films I. Obtaining Reliable Knowledge: Epistemology

Apperance and Reality (F.H. Bradley) 

Critique of Practical Reason, Critique of Pure Reason (Kant) 

Enquiry Concerning Human Understanding, A Treatise of Human Nature (Hume)   

Essay Concerning Human Understanding (Locke) 

Meditations on First Philosophy (Descartes) 

Parmenides, Republic, Sophist, Theaetetus (Plato) 

Philosophical Investigations (Wittgenstein)  

A Treatise Concerning the Principles of  Human Knowledge (Berkeley)

Genealogy of Morals ( Nietzsche)

Human Knowledge (Russell)

Word and Object (W.V. O. Quine)

Fact, Fiction and Forecast (Nelson Goodman) 

Films

David and Lisa, Bladerunner, Laura, Les Enfants du Paradis, The Third Man, North by Northwest, Beauty and the Beast, All About Eve, Twelve Angry Men, The Truman Show,  Rear Window, The Andalusian Dog, The Cabinet of Dr. Caligari, 8 1/2, Juliet of the Spirits, Rashomon, The Return of Martin Guerre

Literature

Faust, Candide, The Castle, Dr. Faustus, Flow my Tears, The Policeman Said, Nausea, V, Waiting for Godot, Wide Sargasso Sea, Ulysses, Remembrance of Things Past, The Aleph and Other Stories, The Balcony, Brand, City Life, Confessions of a Mask, The Ebony Tower, Endgame, Exit the King, Finnegan’s Wake, The Flowers of Evil, the Fox, The French Lieutenant’s Woman, It is So (if you think so), Labyrinths, One Hundred Years of Solitude

Source: philms

lettertojane: Cahiers du Cinema, May 1967 // This is a great issue featuring essays from Jean-Luc Godard, Bernardo Bertolucci, Andrew Sarris, and an interview with Andy Warhol. The file is in CBR format. If you have an iPad, I read these in an app called CloudReaders and it works perfectly.  Download Here
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lettertojane:

Cahiers du Cinema, May 1967

//

This is a great issue featuring essays from Jean-Luc Godard, Bernardo Bertolucci, Andrew Sarris, and an interview with Andy Warhol. The file is in CBR format. If you have an iPad, I read these in an app called CloudReaders and it works perfectly. 

Download Here

Source: philms

features-lettertojane: Cahiers du Cinema, February 1967 // Here’s another issue I’m sharing, and it’s my favorite one I have for one reason alone: Robert Bresson and Jean-Luc Godard talking about film for over 20 pages! There’s also a great feature on Milos Forman.  Download Here
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features-lettertojane:

Cahiers du Cinema, February 1967

//

Here’s another issue I’m sharing, and it’s my favorite one I have for one reason alone: Robert Bresson and Jean-Luc Godard talking about film for over 20 pages! There’s also a great feature on Milos Forman. 

Download Here

Source: philms

Bresson’s Notes on Cinematography

f-f-t-t:

A small, powerful book of significant thoughts on filmmaking. PDF format below.

Allow me to preface this brief statement with this: I do not enjoy hyperbole.

That said, Robert Bresson is indeed one of the five filmmakers that I can count on my left hand that have changed the art of filmmaking and continues to effect it today — often in ways that are subtle but nevertheless deeply profound. His work is a part of the nervous system of worthwhile filmmaking. If you have not seen a Robert Bresson film stop what you are doing and watch Pickpocket right now. I mean that. 

Read More

Source: philms

FILM LANGUAGE: A SEMIOTICS OF CINEMA  By Christian Metz, French Film Theorist, a pioneer in the field Applies both Freud’s psychology and Lacan’s mirror theory to the cinema. Constance Penley’s article on the book: http://www.ejumpcut.org/archive/onlinessays/JC05folder/FilmLangMetz.html
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FILM LANGUAGE: A SEMIOTICS OF CINEMA 

By Christian Metz, French Film Theorist, a pioneer in the field

Applies both Freud’s psychology and Lacan’s mirror theory to the cinema.

Constance Penley’s article on the book:

http://www.ejumpcut.org/archive/onlinessays/JC05folder/FilmLangMetz.html


Source: philms

TALK TO HER Edited by A.W. Eaton Dealing principally with the issue of rape, it also offers profound insights into the nature of love and friendship while raising important philosophical and moral questions in unsettling and often paradoxical ways. examine the following topics: • The relationship between art and morality and the problem of “immoralism” • Moral injury and its role in the way we form moral judgments, including the ethics of love and friendship • The nature of dialogue, sexual objectification and what “listening to” means in the context of gender • Almodóvar’s use of allusion and the unmasking of appearances to explore hidden themes in human nature.
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TALK TO HER

Edited by A.W. Eaton

Dealing principally with the issue of rape,

it also offers profound insights into the nature of love and friendship

while raising important philosophical and moral questions in unsettling

and often paradoxical ways.

examine the following topics:

• The relationship between art and morality and the problem of

“immoralism”

• Moral injury and its role in the way we form moral judgments,

including the ethics of love and friendship

• The nature of dialogue, sexual objectification and what “listening

to” means in the context of gender

• Almodóvar’s use of allusion and the unmasking of appearances to

explore hidden themes in human nature.

Source: philms

Philosophy & Films IV. Establishing the Social Order: Political Philosophy

Anarchy, State and Utopia (Robert Nozick) 

Apology, Crito, Republic ( Plato), Politics (Aristotle)

Capital, The Communist Manifesto (Marx) 

Capitalism and Freedom ( Milton Friedman)

Leviathan (Hobbes), The New Atlantis (Bacon) 

Of Civil Government (Locke), On Liberty ( Mill) 

The Open Society and Its Enemies (Popper)

The Social Contract ( Rousseau) 

A Theory of Justice (Rawls)

Second Treatise of Government (Locke)

The Utopia ( Thomas More) 

Films

City Lights, Citizen Kane, The Conformist, Closely Observed Trains, Doctor Strangelove, Easy Rider, Fahrenheit 451, Gandhi, The Grand Illusion, Platoon, Schindler’s List, Sophie’s Choice, Apocalypse Now, The Angry Silence, Born on the Fourth of July, The Cranes are Flying, The Deer Hunter, Fury, Gallipoli, Hiroshima Mon Amour, Love and Anarchy, Paths of Glory

Source: philms

Philosophy & Films III. Judging the Value of Conduct: Ethics

Beyond Good and Evil, The Joyful Wisdom (Nietzsche) 

Gorgias, Meno, Republic (Plato) 

Groundwork of the Metaphysic of Morals (Kant) 

Human Nature and Conduct (John Dewey) 

Ethics ( G.E. Moore)( N. Hartman) (P.H. Nowell-Smith) (Spinoza)  

The Humanism of Existentialism (Sartre)

The Myth of Sisyphus (Albert Camus) 

The Nicomachean Ethics (Aristotle) 

The Philosophy of Right (Hegel) 

Utilitarianism ( Mill) 

Films

American Beauty, Amistad, The Bicycle Thief, Blue Velvet, Bread and Chocolate, Breathless, A Clockwork Orange, Last Tango in Paris, La Dolce Vita, La Strada, Law of Desire, Philadelphia, Pulp Fiction, Roma, Wild Strawberries, Twelve Angry Men, City Lights, Extreme Measures, Ikuru, It’s a Wonderful Life, Jules and Jim, L’Avventura, Los Olvidados, On the Waterfront

Source: philms