hird Cinema, World Cinema and Marxism.
- Published in:
- Film-Philosophy, 2022, v. 26, n. 3, p. 444, doi. 10.3366/film.2022.0212
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- Article
Works matching IS 14664615 AND DT 2022 AND VI 26 AND IP 3
Results: 11
1
2
Before Sunrise, Before Sunset, Before Midnight: A Philosophical Exploration.
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- Film-Philosophy, 2022, v. 26, n. 3, p. 441, doi. 10.3366/film.2022.0211
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- Article
3
Filmed Thought: Cinema as Reflective Form.
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- Film-Philosophy, 2022, v. 26, n. 3, p. 436, doi. 10.3366/film.2022.0210
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- Article
4
Cinema/Politics/Philosophy.
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- Film-Philosophy, 2022, v. 26, n. 3, p. 432, doi. 10.3366/film.2022.0209
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- Article
5
Immortality, the Good Life and Romantic Love in Groundhog Day and Only Lovers Left Alive.
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- Film-Philosophy, 2022, v. 26, n. 3, p. 411, doi. 10.3366/film.2022.0208
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- Publication type:
- Article
6
The Cinematic Anthropocene and the Future Politics of Killing.
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- Film-Philosophy, 2022, v. 26, n. 3, p. 394, doi. 10.3366/film.2022.0207
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- Article
7
David Lynch, Embodiment and Mediality: Dealing With a Human Form.
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- Film-Philosophy, 2022, v. 26, n. 3, p. 375, doi. 10.3366/film.2022.0206
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- Article
8
The Availability of Jim Jarmusch’s Film-Philosophy: Wittgenstein, Derrida and Private Language in Ghost Dog: The Way of the Samurai.
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- Film-Philosophy, 2022, v. 26, n. 3, p. 352, doi. 10.3366/film.2022.0205
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- Article
9
Truth, Beauty and Goodness: Freedom and the Platonic Triad in Eric Rohmer’s Film Theory.
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- Film-Philosophy, 2022, v. 26, n. 3, p. 331, doi. 10.3366/film.2022.0204
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- Article
10
Michel Serres, Topology and Folded Time in Christopher Nolan’s Dunkirk.
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- Film-Philosophy, 2022, v. 26, n. 3, p. 308, doi. 10.3366/film.2022.0203
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- Article
11
The Matter of Manual Traces: Letters, Photographs and Bean Paste in Naomi Kawase’s Cinema of Touch.
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- Film-Philosophy, 2022, v. 26, n. 3, p. 285, doi. 10.3366/film.2022.0202
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- Publication type:
- Article