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Immortality, the Good Life and Romantic Love in Groundhog Day and Only Lovers Left Alive 《土拨鼠之日》中的不朽、美好生活和浪漫爱情
IF 0.2 3区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0208
Rick Zinman
Groundhog Day (Harold Ramis, 1993) and Only Lovers Left Alive (Jim Jarmusch, 2013) are fantasy films that use the device of practical immortality in order to raise important philosophical questions about what constitutes a good life and to explore the nature of romantic love. Groundhog Day provides fairly conventional answers about how to live a good life by focusing on issues of spiritual redemption, selflessness, and developing one’s human potential. In contrast, Lovers provides a dark portrayal of a civilization on the brink of extinction but offers a glimmer of hope for the future. The lifestyle and values of married vampires Adam and Eve represent an alternative vision of the core values needed to sustain a better world: greater reliance on human imagination, maintaining a sense of wonder and curiosity about the world, creating and appreciating works of art and living in harmony with the natural world. Both films also offer a perspective on the importance of romantic love in living a good life. Although these perspectives often diverge from one another, they do overlap in some interesting ways. The style of film criticism used in this paper is inspired by the film philosophy of Stanley Cavell.
《土拨鼠日》(Harold Ramis,1993)和《只有活着的情人》(Jim Jarmusch,2013)是一部奇幻电影,它们使用了实用的永生手段,以提出关于什么构成美好生活的重要哲学问题,并探索浪漫爱情的本质。土拨鼠日通过关注精神救赎、无私和开发人类潜力等问题,为如何过上美好生活提供了相当传统的答案。相比之下,《情人》描绘了一个濒临灭绝的文明的黑暗写照,但也为未来带来了一线希望。已婚吸血鬼亚当和夏娃的生活方式和价值观代表了维持一个更美好世界所需的核心价值观的另一种愿景:更加依赖人类的想象力,对世界保持好奇和好奇,创作和欣赏艺术作品,与自然世界和谐相处。这两部电影也都从一个角度阐述了浪漫爱情在美好生活中的重要性。尽管这些观点经常相互偏离,但它们确实以一些有趣的方式重叠。本文采用的电影批评风格受到了斯坦利·卡维尔电影哲学的启发。
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引用次数: 0
Hans Maes and Katrien Schaubroeck (2021) (eds.) Before Sunrise, Before Sunset, Before Midnight: A Philosophical Exploration Hans-Maes和Katrien Schaubroeck(2021)(编辑)《日出之前,日落之前,午夜之前:哲学探索》
IF 0.2 3区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0211
James Zborowski
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引用次数: 0
The Matter of Manual Traces: Letters, Photographs and Bean Paste in Naomi Kawase’s Cinema of Touch 手工痕迹的问题:河濑直美“触觉电影”中的信件、照片和豆沙
IF 0.2 3区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0202
L. Tuan
This article explores the representation of the hand in three recent fiction films by Naomi Kawase: Sweet Bean (2015), Radiance (2017) and True Mothers (2020). Extending current scholarship that discusses the director’s use of haptic visuality, I argue that Kawase’s haptic cinema further exhibits its hapticity by framing the hand as both a Derridean trace and conduit that leaves behind traces in objects such as bean paste, letters, photo cameras, and photographs. Kawase’s framing of these objects in close-up shots emphasizes not only their materiality and haptic texture but also their foreshadowed physical absence. By reading Kawase through Jacques Derrida’s notion of trace, the article highlights not only the relevance behind understanding Kawase’s recent fiction films through a Derridean lens but also how the director’s own attitude towards cinema, as one that aims to simultaneously frame absence and presence, can also be read as a Derridean approach to cinema.
本文探讨了川濑直美最近的三部小说电影中手的表现:《甜豆》(2015)、《光辉》(2017)和《真母亲》(2020)。延伸目前讨论导演使用触觉视觉的学术研究,我认为川濑的触觉电影进一步展示了它的触觉性,将手塑造成一个德里安痕迹和导管,在豆沙、字母、照相机和照片等物体上留下痕迹。川濑在特写镜头中对这些物体的构图不仅强调了它们的物质性和触感质感,而且强调了它们预示的物理缺席。通过雅克·德里达的“轨迹”概念来解读川濑,本文不仅强调了从德里德的视角来理解川濑最近的小说电影背后的相关性,还强调了导演自己对电影的态度,作为一个旨在同时构建缺席和在场的人,也可以被解读为德里德对电影的态度。
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引用次数: 0
Ewa Mazierska and Lars Kristensen (eds.) (2020) Third Cinema, World Cinema and Marxism Ewa Mazierska和Lars Kristensen(编)(2020)第三电影,世界电影和马克思主义
IF 0.2 3区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0212
A. Philip
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引用次数: 0
The Availability of Jim Jarmusch’s Film-Philosophy: Wittgenstein, Derrida and Private Language in Ghost Dog: The Way of the Samurai 吉姆·贾木许电影哲学的可行性:《鬼狗:武士之路》中的维特根斯坦、德里达和私人语言
IF 0.2 3区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0205
Kyle Barrowman
To date, film scholars have found the films of Jim Jarmusch to be tantamount to works of postmodern philosophy. For as intriguing and productive as such interpretations of Jarmusch’s films have been, I submit that the postmodern framework occludes a crucial aspect of Jarmusch’s film-philosophy, namely, his investment in the ordinary. From this perspective, I intend to show the availability of Jarmusch’s films to Wittgensteinian interpretation. More specifically, I plan to situate Jarmusch’s arthouse action film Ghost Dog: The Way of the Samurai (1999) between Ludwig Wittgenstein and Jacques Derrida in order to demonstrate the profound affinities between Jarmusch’s film-philosophy and Wittgenstein’s conception of ordinary language. Through a consideration of character dialogue, I will demonstrate the extent to which Jarmusch rejects the private language argument – which, by extension, amounts to a rejection of linguistic relativism as an instance, or species, of skepticism – in favor of ordinary conceptions of language, expressiveness, knowledge, and responsibility.
迄今为止,电影学者认为吉姆·贾木许的电影等同于后现代哲学作品。尽管对贾木许电影的这种解读既有趣又富有成效,但我认为后现代框架掩盖了贾木许电影哲学的一个关键方面,即他对平凡事物的投资。从这个角度来看,我打算展示贾木许电影对维特根斯坦解释的可用性。更具体地说,我打算将贾木许的艺术动作片《鬼狗:武士之路》(1999)置于路德维希·维特根斯坦和雅克·德里达之间,以展示贾木许的电影哲学与维特根斯坦的日常语言概念之间的深刻联系。通过对人物对话的考虑,我将展示贾木许在多大程度上拒绝了私人语言的论点——引申开来,相当于拒绝了语言相对主义作为怀疑主义的一个实例或物种——而支持语言、表达、知识和责任的普通概念。
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引用次数: 1
David Lynch, Embodiment and Mediality: Dealing With a Human Form 大卫·林奇,《化身与媒介:处理人类形态》
IF 0.2 3区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0206
Benedict Welch
This article considers the role of disembodiment in the visual art and films of David Lynch. This line of inquiry, I argue, allows us to consider the ways scholars do and do not conceptualise the relationship between Lynch’s works of different mediums. Specifically, I pursue the conviction that Lynch’s preoccupation with an injured or fragmented body corresponds to his intermedial creative practice. I turn my attention to Lynch’s early short film The Alphabet (1968) which exemplifies how the violence inflicted on the body represents the violence wreaked by the separation of art into different media. Using Jacques Rancière’s definition of mediality and his idea of the sensorium, I offer a new perspective on the questions of disembodiment that manifest in tricky and unpredictable bodies in Lynch’s work and thus on how we should read Lynch’s output as joined up across mediums. 1
本文探讨了“无实体”在大卫·林奇的视觉艺术和电影中的作用。我认为,这种研究思路使我们能够考虑学者们对林奇不同媒介作品之间的关系进行概念化和不进行概念化的方式。具体来说,我坚信林奇对受伤或支离破碎的身体的专注与他的中间创造性实践是一致的。我把注意力转向林奇早期的短片《字母表》(1968),该片展示了对身体施加的暴力是如何代表艺术在不同媒体中分离所造成的暴力的。利用雅克·兰齐埃对媒介性的定义和他对感官的概念,我对林奇作品中棘手和不可预测的身体中表现出的无实体性问题,以及我们应该如何将林奇的作品解读为跨媒介的结合,提供了一个新的视角。1.
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引用次数: 0
The Cinematic Anthropocene and the Future Politics of Killing 电影人类世与未来的杀戮政治
IF 0.2 3区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0207
Greger Andersen
This article considers two films, Elysium (Neil Bloomkamp, 2013) and What Happened to Monday (Tommy Wirkola, 2017), in order to demonstrate that they foreshadow a paradigmatic shift in the relationship between biopolitics and thanatopolitics. According to Michel Foucault, and later Giorgio Agamben and Roberto Esposito, it is chiefly the association of humans with biological danger that causes biopolitics to mutate into thanatopolitics. However, in these two films, humans are construed as an ecological danger that prompt thanatopolitics. They depict futures in which the regimes in power act on ecological threats by brutally micromanaging and killing members of their populations. In this the films unveil how the idea of sustainability as equilibrium can never benefit all, but must always leave some human beings out, either by abandoning them to die or by actively killing them. This is important because it brings to light the risk that the Anthropocene could engender regimes that will kill on different grounds than regimes have in the past.
本文考虑了两部电影,《极乐世界》(Neil Bloomkamp,2013)和《星期一发生了什么》(Tommy Wirkola,2017),以证明它们预示着生物政治和死亡政治之间关系的范式转变。根据Michel Foucault,以及后来的Giorgio Agamben和Roberto Esposito的说法,主要是人类与生物危险的联系导致了生物政治学变异为死亡政治学。然而,在这两部电影中,人类被认为是一种生态危险,引发了死亡政治。它们描绘了当权政权通过残酷地微观管理和杀害其人口来应对生态威胁的未来。在这部电影中,电影揭示了可持续性作为平衡的理念永远不会惠及所有人,而是必须始终将一些人排除在外,要么抛弃他们去死,要么主动杀死他们。这一点很重要,因为它揭示了人类世可能产生的政权的风险,这些政权将以与过去不同的理由杀人。
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引用次数: 0
Nico Baumbach (2019) Cinema/Politics/Philosophy 尼科·鲍姆巴赫(2019)电影/政治/哲学
IF 0.2 3区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0209
Tyler A Theus
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引用次数: 0
Robert Breer’s Perpetual Motion Machine 罗伯特·布里尔的永动机
IF 0.2 3区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2022-06-01 DOI: 10.3366/film.2022.0196
D. Yang
Embodying and balancing the European avant-garde movement of the 1920s and the dialectical U.S. neo-avant-garde aesthetics of the 1960s, Robert Breer encompassed various art forms in his painting, sculpture and film. In doing so, he created a distinct style that embraces both photographic representation and non-figurative abstraction – a heterogeneous assemblage of sorts – to advocate taking an intermediate stance in the act of rendering the relation between artistic tradition and innovation. By looking at A Man and His Dog Out for Air (1957), Fuji (1974) and LMNO (1978), I show three strategies devised by Breer that help generate the vital energy in these animations: metamorphosis, gradational abstraction, and self-moving objects. All three strategies point to Breer’s dualistic endeavour to experiment with the aesthetic and ontological possibilities of moving images and with the animated objects within the frame in spite of photographic, realist and rational confinements.
罗伯特·布里尔在他的绘画、雕塑和电影中融合了20世纪20年代欧洲前卫运动和20世纪60年代辩证的美国新前卫美学,融合了各种艺术形式。在这样做的过程中,他创造了一种独特的风格,包括摄影表现和非具象抽象-各种各样的异质组合-提倡在呈现艺术传统与创新之间关系的行为中采取中间立场。通过观察《一个人和他的狗出去呼吸空气》(1957)、《富士》(1974)和《LMNO》(1978),我展示了布里尔设计的三种策略,这些策略有助于在这些动画中产生重要的能量:变形、分层抽象和自我移动的物体。所有这三种策略都指向Breer的二元努力,即尝试运动图像的美学和本体论可能性,以及框架内的动画对象,尽管有摄影,现实主义和理性的限制。
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引用次数: 1
Kant and Burke’s Sublime in Werner Herzog’s Films: The Quest for an Ecstatic Truth 维尔纳·赫尔佐格电影中的康德与伯克的崇高:对狂喜真理的追寻
IF 0.2 3区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2022-06-01 DOI: 10.3366/film.2022.0193
Patricia Aleksitch Castello Branco
The German filmmaker Werner Herzog controversially associates “truth” and “reality” in film with Kant’s notion of the sublime by explicitly treating the sublime as a key element in developing his notion of ecstatic truth. I critically examine Herzog’s interpretation of Kant’s sublime and the relations he establishes between the sublime and his own key aesthetic notion of ecstatic truth. I examine how the sublime in Herzog’s films arises from encounters with the overwhelming force and power of nature experienced by his characters in the feature films and participants in the documentaries. I question whether Kant’s conception of the sublime is the one that best aligns with Herzog’s aesthetic aims and I contrast Kant’s transcendental sublime with what I describe as the physiological sublime of Edmund Burke. I draw some conclusions about the moral dimension of the sublime in the context of the relationship between humans and nature within the frame of contemporary ecological concerns.
德国电影制作人维尔纳·赫尔佐格(Werner Herzog)有争议地将电影中的“真理”和“现实”与康德的崇高概念联系在一起,他明确地将崇高视为发展他的狂喜真理概念的关键因素。我批判性地考察了赫尔佐格对康德崇高的解释,以及他在崇高和他自己的狂喜真理的关键美学概念之间建立的关系。我研究了赫尔佐格电影中的崇高是如何从与自然的压倒性力量和力量的接触中产生的,这些力量和力量是他在故事片中的角色和纪录片中的参与者所经历的。我质疑康德的崇高概念是否最符合赫尔佐格的美学目标我将康德的超验崇高与埃德蒙·伯克的生理崇高进行了对比。我在当代生态关注的框架内,在人与自然关系的背景下,得出了一些关于崇高的道德维度的结论。
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引用次数: 0
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Film-Philosophy
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