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Motion pictures --- Psychological aspects. --- Psychoanalyse --- cultuur en religie --- cultuur en religie. --- Motion pictures - Psychological aspects. --- Cultuur en religie.
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Réflexion sur la relation du spectateur aux oeuvres cinématographiques. Le philosophe démontre qu'une reconstruction de la démarche artistique originelle et les intentions attribuées au réalisateur influent sur les critiques, positives ou négatives, portées sur un film. Etudes d'une douzaine de films : M le Maudit de F. Lang, Le voleur de bicyclette de V. de Sica, The tree of life de T. Malick... ©Electre 2015
Motion pictures --- Judgment (Aesthetics) --- Cinéma --- Jugement (Esthétique) --- Appreciation --- Appréciation --- Motion picture audiences --- Cognition --- Psychological aspects --- Psychology --- Cinéma --- Jugement (Esthétique) --- Appréciation --- Motion pictures - Psychological aspects --- Motion picture audiences - Psychology
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Standard Hollywood narrative movies prescribe linear narratives and cue the viewer to expect predictable outcomes and adopt a closed state of mind. There are, however, a small number of movies that, through the presentation of alternate narrative paths, open the mind to thoughts of choice and possibility. Through the study of several key movies for which this concept is central, such as Sliding Doors, Run Lola Run, Inglourious Basterds, and Rashomon, Nitzan Ben Shaul examines the causes and implications of optional thinking and how these movies allow for more open and creative possibilities. This book examines the methods by which standard narrative movies close down thinking processes and deliver easy pleasures to the viewer whilst demonstrating that this is not the only possibility and that optional thinking can be both stimulating and rewarding.
Motion pictures --- Motion picture audiences --- Film criticism --- Cinéma --- Critique cinématographique --- Philosophy --- Psychological aspects --- Philosophie --- Aspect psychologique --- Publics --- Psychology --- Cinéma --- Critique cinématographique --- Motion picture audiences - Psychology --- Motion pictures - Philosophy --- Motion pictures - Psychological aspects
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Motion pictures --- Psychological aspects --- -#SBIB:309H522 --- #SBIB:309H526 --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Audiovisuele communicatie: kritiek --- Psychologie van de audiovisuele boodschap --- History and criticism --- Motion pictures - Psychological aspects --- -Psychological aspects
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The 17 original essays of this volume explore the relevance of the phenomenological approach to contemporary debates concerning the role of embodiment in our cognitive, emotional and practical life. The papers demonstrate the theoretical vitality and critical potential of the phenomenological tradition both through critically engagement with other disciplines (medical anthropology, psychoanalysis, psychiatry, the cognitive sciences) and through the articulation of novel interpretations of classical works in the tradition, in particular the works of Edmund Husserl, Maurice Merleau-Ponty and Jean-Paul Sartre. The concrete phenomena analyzed in this book include: chronic pain, anorexia, melancholia and depression.
Motion pictures -- Philosophy. --- Motion pictures -- Psychological aspects. --- Phenomenology. --- Subjectivity in motion pictures. --- Philosophy & Religion --- Philosophy --- Philosophy. --- Cognitive psychology. --- Cognitive Psychology. --- Philosophy, Modern --- Psychology, Cognitive --- Cognitive science --- Psychology --- Mental philosophy --- Humanities --- Phenomenology . --- Consciousness. --- Apperception --- Mind and body --- Perception --- Spirit --- Self
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Editing has been called the language of cinema, and thus a film's ending can be considered the final punctuation mark of this language, framing everything that came before and offering the key to both our interpretation and our enjoyment of a film. In Cinematic Cuts, scholars explore the philosophical, literary, and psychoanalytic significance of film endings, analyzing how film endings engage our fantasies of cheating death, finding true love, or determining the meaning of life. They examine how endings offer various forms of enjoyment for the spectator, from the momentary fulfillment of desire in the happy ending to the pleasurable torment of an indeterminate ending. The contributors also consider how film endings open onto larger questions relating to endings in our time. They suggest how a film ending's hidden counternarrative can be read as a political act, how our interpretation of a film ending parallels the end of a psychoanalytical session, how film endings reveal our anxieties and fears, and how cinema itself might end with the increasing intervention of digital technologies that reorient the spectator's sense of temporality and closure. Films by Akira Kurosawa, Lars von Trier, Joon-Hwan Jang, Claire Denis, Christopher Nolan, Jane Campion, John Huston, and Spike Jonze, among others, are discussed.
Motion pictures --- Film editing (Cinematography) --- Motion picture editing --- Motion picture film editing --- Editing --- Philosophy. --- Editing. --- Psychological aspects. --- Montage --- Motion pictures - Philosophy --- Motion pictures - Editing --- Motion pictures - Psychological aspects --- Cinéma --- Films --- Philosophie --- Aspect psychologique
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Ce livre cherche à mieux comprendre ce qu'est un spectateur de cinéma, un corps de spectateur pris dans le corps du cinéma. On y mène d'abord une comparaison, classique mais jamais éclairée, entre le cinéma et l'hypnose - cet état énigmatique, intermédiaire entre la veille, le rêve et le sommeil. Ressaisie dans l'histoire des dispositifs de vision dont l'hypnose participe, depuis la fin du XVIIIe siècle, cette vue du cinéma comme hypnose s'engage dans trois directions : une analogie de dispositifs; une interprétation métapsychologique ; la réévaluation contemporaine de l'hypnose stimulée par la recherche neurobiologique. Le parti pris essentiel de ce livre suppose une équivalence entre l'état de cinéma compris comme hypnose légère et la masse des émotions éprouvées au cours de la projection d'un film. Mais plutôt que des émotions conventionnelles, de nature psychologique, il s'agit des émotions premières que Daniel Stern a nommées des affects de vitalité : les réactions sensibles induites chez le tout petit enfant par la construction corporelle et psychique de son expérience, qui sont autant de signes précurseurs du style dans l'art. De ces émotions sans nom, aussi variables que toujours recommencées, le cinéma semble par excellence être le lieu, lui qui se donne, dans ses films authentiques, pour la réalité faite art. Enfin, ce corps d'hypnose et d'émotion est aussi un corps animal. Part d'animalité de l'homme, tenant au mouvement, au plus élémentaire du corps affecté. Dès sa conception et sans cesse au fil de son histoire le cinéma s'est voué à la figuration animale. On la cerne ici à travers le cinéma américain où l'animal, entre pastoralisme et wilderness occupe une fonction anthropologique première; et dans des œuvres du cinéma moderne européen, d'où ressort une vision plus ontologique. Ce livre est largement conçu à partir d'analyses de films. On cherche à ressaisir le film dans son détail le plus intime, là où, de micro-émotions en émotions plus vastes, sans cesse il se construit. Le choix des films a été aussi divers que possible, dans l'histoire comme dans la géographie du cinéma : des films Lumière aux œuvres du cinéma moderne et contemporain, en passant par le cinéma classique et le cinéma expérimental ou d'avant-garde. On aimerait avoir ainsi touché le cœur du cinéma. Quelques auteurs surtout ont inspiré cette approche : pour l'hypnose, Lawrence Kubie, Sigmund Freud, Léon Chertok et François Roustang; pour le développement de l'enfant et la neurobiologie, Daniel Stern et Antonio Damasio; pour la pensée et la critique du cinéma, Gilles Deleuze et Serge Daney.
Film criticism --- Motion pictures --- Cinéma --- Rapport du spectateur à l'objet créé --- Perception --- Aesthetics --- Psychological aspects --- Aesthetics. --- Psychological aspects. --- Film criticism - Aesthetics --- Motion pictures - Aesthetics --- Motion pictures - Psychological aspects --- Point de vue (cinéma) --- Critique cinématographique --- Philosophie --- Appréciation --- Publics --- Point de vue (cinéma) --- Critique cinématographique --- Cinéma --- Appréciation
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Quest’opera, frutto del lavoro di diversi autori, tutti psichiatri appassionati di cinema, è un testo originale che testimonia la sterminata cinematografia in cui si ritrae la sofferenza psichiatrica e offre un metodo per apprendere la psicopatologia. Il libro contiene più di 130 schede di opere cinematografiche, suddivise in capitoli dedicati ad aree psicopatologiche specifiche, in cui gli autori analizzano l’intera sceneggiatura del film ponendo grande attenzione ai sintomi, alle interpretazioni dei meccanismi psichici profondi, valorizzando al tempo stesso la clinica in tutti i suoi aspetti. Questo approccio consente al lettore di vedere i film con uno sguardo nuovo e arricchito di conoscenze. Il volume è rivolto a psicologi, psichiatri e studenti e costituisce uno strumento utile sia per la fruizione personale, sia per la formazione professionale e culturale.
Mental health personnel in motion pictures. --- Motion picture audiences - Psychology. --- Motion pictures - Psychological aspects. --- Psychiatry in motion pictures. --- Psychoanalysis and motion pictures. --- Music, Dance, Drama & Film --- Film --- Motion pictures --- Psychological aspects. --- Medicine. --- Psychiatry. --- Psychology. --- Medicine & Public Health. --- Psychology, general. --- Philosophy (General). --- Medicine and psychology --- Mental health --- Psychology, Pathological --- Behavioral sciences --- Mental philosophy --- Mind --- Science, Mental --- Human biology --- Philosophy --- Soul
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"Moving images take us on mental and emotional journeys, over the course of which we and our worlds undergo change. This is the premise of Ecologies of the Moving Image, which accounts for the ways cinematic moving images move viewers in ways that reshape our understanding of ourselves, of life, and of the Earth and universe. This book presents an ecophilosophy of the cinema: an account of the moving image in relation to its lived ecologies--the material, social, and perceptual relations within which movies are produced, consumed, and incorporated into cultural life. Cinema, Adrian Ivakhiv argues, lures us into its worlds, but those worlds are grounded in a material and communicative Earth that supports them, even if that supporting materiality withdraws from visibility. Ivakhiv examines the geographies, visualities, and anthropologies--relations of here and there, seer and seen, us and them, human and inhuman--found across a range of styles and genres, from ethnographic and wildlife documentaries to westerns and road movies, and from sci-fi blockbusters and eco-disaster films to the experimental and art films of Tarkovsky, Herzog, Greenaway, Malick, Dash, and Brakhage as well as YouTube's expanding audiovisual universe. Through its process-relational account of cinema, drawn from philosophers such as Whitehead, Peirce, and Deleuze, the book boldly enriches our understanding of film and visual media."--Publisher's website.
Motion pictures -- Philosophy. --- Motion pictures -- Psychological aspects. --- Motion pictures -- Social aspects. --- Music, Dance, Drama & Film --- Film --- Motion pictures --- Nature in motion pictures. --- Ecology in motion pictures. --- Cinéma --- Naturfilm. --- Naturen i filmen. --- Ekologi i filmen. --- Ekokritik. --- Film. --- Philosophy. --- Aspect social. --- Aspect psychologique. --- Philosophie. --- Social aspects. --- Psychological aspects. --- Ecocriticism. --- Ecophilosophy. --- Film studies. --- Film-philosophy. --- Peirce. --- Whitehead.
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778.5 --- film --- filmtheorie --- Barthes Roland --- Mies van der Rohe Ludwig --- Marker Chris --- Ringley Jennifer --- Burgin Victor --- 791.41 --- 778.5 Filmfotografie. Filmkunst --- Filmfotografie. Filmkunst --- Rappel (psychologie) --- Motion pictures --- Recollection (Psychology) --- Recall (Psychology) --- Memory --- Recognition (Psychology) --- Psychological aspects --- Appreciation --- Recollection (Psychology). --- Psychological aspects. --- Cinéma --- Aspect psychologique --- Appréciation --- Film --- Aspect psychologique. --- Appréciation. --- Motion pictures - Psychological aspects --- Motion pictures - Appreciation --- Cinéma --- Appréciation.
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