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Reflexive Horizons | Film Philosophy and the Moving Image

Film Philosophy and the Moving Image. The ‘Seer’ in Michelangelo Antonioni’s L’eclisse (1962). December 8, 2014. In this context of modernisation and its consequences, Michelangelo Antonioni made four films that explored the condition of the alienated self in post-war Italy;. 1964) Due to their concern with alienation, Chatman (1985), Nowell-Smith (1997), Gandy (2003) and Williams (2008) assess the four films as constituent parts of a tetralogy. In. For this discussion of. Lidia (Jeanne Moreau) in. After...

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Reflexive Horizons | Film Philosophy and the Moving Image | reflexivehorizons.com Reviews

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Film Philosophy and the Moving Image. The ‘Seer’ in Michelangelo Antonioni’s L’eclisse (1962). December 8, 2014. In this context of modernisation and its consequences, Michelangelo Antonioni made four films that explored the condition of the alienated self in post-war Italy;. 1964) Due to their concern with alienation, Chatman (1985), Nowell-Smith (1997), Gandy (2003) and Williams (2008) assess the four films as constituent parts of a tetralogy. In. For this discussion of. Lidia (Jeanne Moreau) in. After...

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Reflexive Horizons | Film Philosophy and the Moving Image | reflexivehorizons.com Reviews

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Film Philosophy and the Moving Image. The ‘Seer’ in Michelangelo Antonioni’s L’eclisse (1962). December 8, 2014. In this context of modernisation and its consequences, Michelangelo Antonioni made four films that explored the condition of the alienated self in post-war Italy;. 1964) Due to their concern with alienation, Chatman (1985), Nowell-Smith (1997), Gandy (2003) and Williams (2008) assess the four films as constituent parts of a tetralogy. In. For this discussion of. Lidia (Jeanne Moreau) in. After...

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The ‘Seer’ in Michelangelo Antonioni’s L’eclisse (1962) | Reflexive Horizons

http://www.reflexivehorizons.com/2014/12/08/the-seer-in-michelangelo-antonionis-leclisse-1962

Film Philosophy and the Moving Image. The ‘Seer’ in Michelangelo Antonioni’s L’eclisse (1962). December 8, 2014. In this context of modernisation and its consequences, Michelangelo Antonioni made four films that explored the condition of the alienated self in post-war Italy;. 1964) Due to their concern with alienation, Chatman (1985), Nowell-Smith (1997), Gandy (2003) and Williams (2008) assess the four films as constituent parts of a tetralogy. In. For this discussion of. Lidia (Jeanne Moreau) in. After...

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Contributors | Reflexive Horizons

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Film Philosophy and the Moving Image. Felicity was awarded her doctoral thesis in Media Arts at Royal Holloway, University of London entitled “The Critical Roots of Magic Realism: Franz Roh, Alejo Carpentier, Fredric Jameson.” Her work focuses on critical texts and artistic practice within the modernist avant-garde that address the. Die Tochter des Samurai. Laz Carter is a Film Studies academic with an interest in the theories of stardom, authorship, fandom and cyber-piracy. He has completed both a B...

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May | 2014 | Reflexive Horizons

http://www.reflexivehorizons.com/2014/05

Film Philosophy and the Moving Image. Monthly Archives: May 2014. Classifying Genres, Identifying Movements. May 29, 2014. How useful is film classification to Film Studies? A Case Study of The New Wave in Japan and Britain. Superficially, there are striking narrative and stylistic similarities between Karel Reisz’s. Saturday Night and Sunday Morning, Karel Reisz, 1960. Saturday Night and Sunday Morning. And Ōshima Nagisa’s Cruel Story of Youth. Reisz and Millar 2004: 323-4). À Bout de Souffle,. Is how i...

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On Space and Seeing: Cinema and the Invention of Modern Life | Reflexive Horizons

http://www.reflexivehorizons.com/2014/01/29/on-space-and-seeing-cinema-and-the-invention-of-modern-life

Film Philosophy and the Moving Image. On Space and Seeing: Cinema and the Invention of Modern Life. January 29, 2014. Senses of Cinema, Functions of Film. Writing from a sociological perspective in 2004, Richard Leppert describes modern life as. Charney and Schwarz 1995: 1-3). The concept of ‘an obsession with ‘evidence’ is also prevalent in the work of German philosopher Edmund Husserl, who argues that:. The place of the cinema in documenting this ‘evidence’ must be ascertained. The constant thirst ...

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Senses of Cinema, Functions of Film | Reflexive Horizons

http://www.reflexivehorizons.com/category/senses-of-cinema-functions-of-film

Film Philosophy and the Moving Image. Category Archives: Senses of Cinema, Functions of Film. On Space and Seeing: Cinema and the Invention of Modern Life. January 29, 2014. Senses of Cinema, Functions of Film. Writing from a sociological perspective in 2004, Richard Leppert describes modern life as. Charney and Schwarz 1995: 1-3). The concept of ‘an obsession with ‘evidence’ is also prevalent in the work of German philosopher Edmund Husserl, who argues that:. September 3, 2013. Krutnik, 2002), though th...

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Reflexive Horizons | Film Philosophy and the Moving Image

Film Philosophy and the Moving Image. The ‘Seer’ in Michelangelo Antonioni’s L’eclisse (1962). December 8, 2014. In this context of modernisation and its consequences, Michelangelo Antonioni made four films that explored the condition of the alienated self in post-war Italy;. 1964) Due to their concern with alienation, Chatman (1985), Nowell-Smith (1997), Gandy (2003) and Williams (2008) assess the four films as constituent parts of a tetralogy. In. For this discussion of. Lidia (Jeanne Moreau) in. After...

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