Terrors of the Flesh: The Philosophy of Body Horror in Film.
- Published in:
- Film-Philosophy, 2022, v. 26, n. 2, p. 280, doi. 10.3366/film.2022.0201
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- Article
Works matching IS 14664615 AND DT 2022 AND VI 26 AND IP 2
Results: 11
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The Eloquent Screen: A Rhetoric of Film.
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- Film-Philosophy, 2022, v. 26, n. 2, p. 276, doi. 10.3366/film.2022.0200
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- Article
3
Discorrelated Images.
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- Film-Philosophy, 2022, v. 26, n. 2, p. 272, doi. 10.3366/film.2022.0199
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- Article
4
Realist Cinema as World Cinema: Non-cinema, Intermedial Passages, Total Cinema.
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- Film-Philosophy, 2022, v. 26, n. 2, p. 267, doi. 10.3366/film.2022.0198
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- Article
5
Receptivity, Simultaneity: The Thin Red Line as Ecological Cinematic Poesis.
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- Film-Philosophy, 2022, v. 26, n. 2, p. 242, doi. 10.3366/film.2022.0197
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- Article
6
Robert Breer’s Perpetual Motion Machine.
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- Film-Philosophy, 2022, v. 26, n. 2, p. 219, doi. 10.3366/film.2022.0196
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- Article
7
Hegel and Hitchcock’s Vertigo: On Reconciliation.
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- Film-Philosophy, 2022, v. 26, n. 2, p. 196, doi. 10.3366/film.2022.0195
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- Article
8
The Disrobing of Aphrodite: Brigitte Bardot in Le Mépris.
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- Film-Philosophy, 2022, v. 26, n. 2, p. 171, doi. 10.3366/film.2022.0194
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- Article
9
Kant and Burke’s Sublime in Werner Herzog’s Films: The Quest for an Ecstatic Truth.
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- Film-Philosophy, 2022, v. 26, n. 2, p. 149, doi. 10.3366/film.2022.0193
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- Article
10
Humility and Greatness in Damien Chazelle’s First Man.
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- Film-Philosophy, 2022, v. 26, n. 2, p. 130, doi. 10.3366/film.2022.0192
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- Article
11
Disgust, Race and Ideology in Carl Franklin’s Devil in a Blue Dress.
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- Film-Philosophy, 2022, v. 26, n. 2, p. 103, doi. 10.3366/film.2022.0191
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- Article