Titlebook: Refractions of Reality: Philosophy and the Moving Image; John Mullarkey Book 2009 Palgrave Macmillan, a division of Macmillan Publishers L

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,?i?ek and the Cinema of Perversion, the multiple interpretations of theory, there lie formal aspects, ‘nodal passages’, that all will commonly comprehend (beginnings and endings, plot points, what characters do, and so on). There is a lowest common denominator, so to speak, ‘structural and substantive aspects’ upon which critics ‘hav

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Extended Cognitions and the Speeds of Cinema,le? According to Ian Jarvie, of course, the one logically follows from the other, but can their interdependence be recovered in any more material fashion, in a manner going beyond purely logical entailment? The work done by Edward Branigan and Joseph Anderson, that we turn to now, may provide just s

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,Conclusion: Code Unknown — A Bastard Theory for a Bastard Art,ose identity as art must forever remain unknown’. Art’s identity comes through not being self-identical. What will be the great dramatic work of tomorrow, for instance? This work, according to Bergson, is ‘not yet possible’, but it ‘.’ in the future anterior where such things exist.. Such things are

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,Deleuze’s Kinematic Philosophy,n he writes that ‘cinema’s concepts are not given in cinema. And yet they are cinema’s concepts, not theories about cinema’. Yet, at every point and turn of the preceding 500 pages of text, films and their makers are continually compared with philosophical thinkers, only ones that ‘think with movement-images and time-images instead of concepts’..

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of particular philosophers of film (?i?ek, Deleuze and Cavell) as well as general philosophical positions (Cognitivist and Culturalist), and analyses the ability of film to teach and create philosophy.978-0-230-28501-9978-0-230-58231-6

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