Life Above the Clouds: Philosophy in the Films of Terrence Malick.
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- Film-Philosophy, 2024, v. 28, n. 3, p. 616, doi. 10.3366/film.2024.0287
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- Article
Works matching IS 14664615 AND DT 2024 AND VI 28 AND IP 3
Results: 12
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Nietzsche in Hollywood: Images of the Übermensch in Early American Cinema.
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- Film-Philosophy, 2024, v. 28, n. 3, p. 620, doi. 10.3366/film.2024.0288
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- Article
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The Pleasure of Self-erasure: Malabou, (Sexual) Anarchy and Agnès Varda’s Sans toit ni loi.
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- Film-Philosophy, 2024, v. 28, n. 3, p. 586, doi. 10.3366/film.2024.0285
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- Article
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Malabou’s Cineplastics and Contemporary French Film: Jacques Audiard, Céline Sciamma and Mia Hansen-Løve.
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- Film-Philosophy, 2024, v. 28, n. 3, p. 428, doi. 10.3366/film.2024.0279
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- Article
5
Introduction: Catherine Malabou, Plasticity and Film.
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- Film-Philosophy, 2024, v. 28, n. 3, p. 413, doi. 10.3366/film.2024.0278
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- Article
6
Mapping Precarity in Contemporary Cinema and Television: Chronotopes of Anxiety, Depression, Expulsion/Extinction.
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- Film-Philosophy, 2024, v. 28, n. 3, p. 612, doi. 10.3366/film.2024.0286
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- Article
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What Is the Work of Animation? The Plasticity of Time in the Fourth-Dimensional Image.
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- Film-Philosophy, 2024, v. 28, n. 3, p. 477, doi. 10.3366/film.2024.0281
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- Article
8
Voir venir the New Wave: Plasticity in Jacques Rivette’s Film Criticism.
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- Film-Philosophy, 2024, v. 28, n. 3, p. 454, doi. 10.3366/film.2024.0280
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- Article
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Feminist Epigenet(h)ics: Maternal Waters, Gestational Forms and Mitochondrial Eves in Lucile Hadžihalilović’s Evolution.
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- Film-Philosophy, 2024, v. 28, n. 3, p. 504, doi. 10.3366/film.2024.0282
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10
Post-Cinematic Bodies.
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- Film-Philosophy, 2024, v. 28, n. 3, p. 624, doi. 10.3366/film.2024.0289
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- Article
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Derivative Desires and Plastic Pedagogies: Malabou, Psychoanalysis and The Big Short.
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- Film-Philosophy, 2024, v. 28, n. 3, p. 561, doi. 10.3366/film.2024.0284
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Malabou, Medicine and Film: Screening Brain Injury, Organ Transplantation and Plasticity in Katell Quillévéré’s Heal the Living.
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- Film-Philosophy, 2024, v. 28, n. 3, p. 534, doi. 10.3366/film.2024.0283
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- Article