scholarly journals Return to Reality: Towards A More Tactile Cognition of Film Theory

2012 ◽  
Vol 1 (2) ◽  
pp. 1-2
Author(s):  
Murat Akser
Keyword(s):  
Film Studies ◽  
Film Theory ◽  
Tactile Sense ◽  
The Real ◽  
The Senses ◽  
The Mind

Film theory has lost itself in the woods among debates of the mind and the senses. Ther are those who are interested in a more tactile sense of the real in film studies. This issue of CINEJ focuses on the documentary truth and how it aims to present us a real and a better world.

WHAT ARE THE BASIC ELEMENTS AND PRINCIPLES OF ART

2021 ◽  
Vol 2 (1SE) ◽  
pp. 17-18
Author(s):  
Shalini Dhiman
Keyword(s):  
Human Mind ◽  
Real Object ◽  
The Real ◽  
Natural Beauty ◽  
Ancient Times ◽  
The Senses ◽  
The Mind ◽  
Natural Expression

Art is natural expression of human. It is through art that a human looks at his personality. Art is such a valuable asset that everyone would have had, but not everyone is aware of it. Art enables the human mind to show direction to the senses, instill the tendencies and twist the mind. Art received by nature as a gift to human consciousnes ,divine gift. The entire creation of any artist is based on his autobiographical approach. Impressed by the material objector natural beauty, the artist through his imagination transforms the feelings produced in the mind into a work. These creations are completely different from the members of the real object. All these mediums of the artist’s expression would be line colors, stones, objects or words. Since ancient times cavities have been painted individuals through human lines. In his struggle whenever he got a break in the primitive life, he devoted every moment of his portrayal. The effects of which we still find in the prehistoric caves , painting, Ajanta, Bagh,Ellora, etc are easily available.

Seeing Pictures

2019 ◽  
pp. 3-21
Author(s):  
Sarah Cooper
Keyword(s):  
Mental Imagery ◽  
Film Studies ◽  
Film Theory ◽  
Mental Image ◽  
Mental Images ◽  
Silent Cinema ◽  
Entire Study ◽  
Set Up ◽  
Introductory Discussion ◽  
The Mind

This opening chapter serves to introduce the principal focus of the book, which explores the felt experience of mental image-making while watching film. The introductory discussion positions the book first of all in relation to cognitivist work on imagination within film studies and points to the gap in scholarship on spectatorship regarding the experience of the image-making capacity of the imagination, situating it within a broader debate on mental imagery. The chapter engages with film theory and philosophy that anticipates the kind of image-making that will be focused on throughout the book and introduces what it means to imagine in images. It also justifies the book’s concentration on sound rather than silent cinema, since the verbal dimension and soundtracks are crucial to the kind of direction that produces the most vivid mental images, and the verbal dimension in particular permits introduction of the work of Elaine Scarry on guided imagining. It is the vivacity of such mental images that this first chapter outlines. In conceptual terms, this chapter and the following chapter serve to set up the key notion of ‘dual vision’ – of seeing what is on screen and ‘seeing’ what is in the mind – that informs the entire study.

Cinema's Baroque Flesh

2016 ◽  
Author(s):  
Saige Walton
Keyword(s):  
Art History ◽  
Film Studies ◽  
Film Theory ◽  
The Body ◽  
Archaeological Work ◽  
The Senses ◽  
Opening Up

In Cinema's Baroque Flesh, Saige Walton draws on the philosophy of Maurice Merleau-Ponty to argue for a distinct aesthetic category of film and a unique cinema of the senses: baroque cinema. Combining media archaeological work with art history, phenomenology, and film studies, the book offers close analyses of a range of historic baroque artworks and films, including Caché, Strange Days, the films of Buster Keaton, and many more. Walton pursues previously unexplored connections between film, the baroque, and the body, opening up new avenues of embodied film theory that can make room for structure, signification, and thought, as well as the aesthetics of sensation.

The Place of Myth in Philosophy

Philosophy ◽  
1936 ◽  
Vol 11 (42) ◽  
pp. 131-145
Author(s):  
W. R. Inge
Keyword(s):  
Philosophy Of Religion ◽  
Creative Imagination ◽  
The Real ◽  
Space And Time ◽  
The World ◽  
Scientific Fact ◽  
The Mind

My subject is the place of myth in philosophy, not in religion. If I were dealing with the philosophy of religion, I should, of course, have much to say on the place of myth in theology; and what I have to say may have some bearing on this subject; but I am not dealing with particular dogmas of Christianity or of any other religion. My thesis is that when the mind communes with the world of values its natural and inevitable language is the language of poetry, symbol, and myth. And, further, that philosophy has to deal with a number of irreducible surds which cannot be rationalized. They must be accepted as given material for reason to work upon. For example, we do not know why there is a world; we cannot unify the world of what we call facts and the world of values; there are antinomies in space and time which do not seem to disappear when we put a hyphen between them. Our reason–some would say reason itself— has reached its limits. We are driven to mythologize, confessing that we have left the realm of scientific fact. We give rein to the imagination, not exactly claiming with Wordsworth that it is reason in her most exalted mood, but hoping that the creative imagination may reveal to us some of the real meaning of questions which we cannot answer.

Deleuze and Lola Montès

2020 ◽  
Author(s):  
Richard Rushton
Keyword(s):  
Gilles Deleuze ◽  
Film Studies ◽  
Film Theory ◽  
World Today ◽  
Film Interpretation ◽  
The World ◽  
Time Image

Gilles Deleuze represents the most widely referenced theorist of cinema today. And yet, even the most rudimentary pillars of his thought remain mysterious to most students (and even many scholars) of film studies. From one of the foremost theorists following Deleuze in the world today, Deleuze and Lola Montès offers a detailed explication of Gilles Deleuze’s writings on film – from his books Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985). Building on this foundation, Rushton provides an interpretation of Max Ophuls’s classic film Lola Montès as an example of how Deleuzian film theory can function in the practice of film interpretation.

The real banality of evil

2005 ◽  
Author(s):  
◽  
Regine Lamboy
Keyword(s):  
Hannah Arendt ◽  
Formal Analysis ◽  
University Of Missouri ◽  
The Real ◽  
Banality Of Evil ◽  
Life Of The Mind ◽  
Adolf Eichmann ◽  
The Mind ◽  
The University

[ACCESS RESTRICTED TO THE UNIVERSITY OF MISSOURI AT AUTHOR'S REQUEST.] When Hannah Arendt encountered Adolf Eichmann at his trial in Jerusalem she was struck by the fact that his most outstanding characteristic was his utter thoughtlessness. This raised the questins of whether there might be a connection between thinking and abstaining from evil doing, which she explored in her last book The Life of the Mind. If there is indeed such a connection, there may be a class of people who might be led to abstain from evil doing if they can be persuaded to engage in thinking. This dissertation examines Arendt's success in establishing such a connection. Overall, her project does not really succeed. Her overly formal analysis of thinking wavers between a highly abstract and obscure conceptualization of thinking and a more down to earth definition. Ultimately she winds up stripping thinking of all possible content. .

scholarly journals The teachings of Alexei Chernyakov about the soul and mind: reflections and comments

2021 ◽  
Author(s):  
Oleg Gushchin
Keyword(s):  
General Feeling ◽  
The Senses ◽  
Continuous Dynamic ◽  
Common Feeling ◽  
The Moment ◽  
The Mind

Chernyakov in his famous monograph reveals the concept of the soul through the opposite — the concept of the mind. But the point is not only in the explication of the concept through the opposite meaning. Following the logic of Chernyakov, the soul and mind at a certain stage fall into a kind of dynamic unity as the highest participation in the divine gaze. Being, according to Aristotle, a common feeling, the soul is through continuous “flipping” of private feelings, and so that in the formula: “I feel and understand what I feel,” the second term is exfoliated, i.e. the terminological limitation has been removed. As a result, the pure movement “feel the feeling of feeling” is released as a continuity of sensual evidence. The soul lives in the gaps of the mind and sees its infinity in them. Chernyakov draws attention to the fact that any distinction is simultaneously and latently the moment of binding distinctions. But the moments of discrimination / binding in soul and mind are given in different ways. Awakening (discriminating), the soul simultaneously connects the different so as to survey the all-encompassing expanse of itself and all that exists in the unity of self-movement. The soul, like the mind, is a form without matter, but in a different way from the mind. The soul also moves towards the object, but does not deviate from it to meet with itself, as the mind does, but passes through the object at the moment when it is already (still) decomposed or is in a de-objectified form. An object, being the energy of the mind, is "weathered" in relation to the soul, leaving a kind of living sensory imprint, the soul revives when it connects sensory imprints of objects, meeting itself in them. Chernyakov, referring to Aristotle, believes that the general feeling really contains in some way all the objects of the senses (but without matter). We explain to ourselves that these objects are in a de-objectified form. Unimpeded by overcoming (opening) the gap of the mind, the soul “sees” (binds) a multitude of sensory forms, in each of which a free gaze as such is released. This is not a gaze fixed on something unchanging. And it is also not a perception, which, as part of a speculative form, adds a new “perceive something” to “I perceive something”. Now the act: “I perceive something” is opened and partially discarded, leaving only an independent, continuous dynamic attachment in the remainder: “perceives” + “perceives” + “perceives”, etc.

scholarly journals "Secondary" myth in the context of doctrinal foundations of non-traditional religions and occult-mystical groups: the evolution of relationships in postmodern culture

2006 ◽  
pp. 13-19
Author(s):  
A.T. Schedrin
Keyword(s):  
Rapid Growth ◽  
Religious Beliefs ◽  
Radical Change ◽  
The State ◽  
Modern Culture ◽  
The Real ◽  
Radical Reform ◽  
Traditional Religions ◽  
The Future ◽  
The Mind

Philosophical and anthropological explorations of the state of modern culture testify to its crisis nature, connected with the acceleration of the processes of radical change of civilizational type of development. The need for a radical reform of the foundations of the future existence of society becomes evident. Lack of understanding of the real means of such reformation leads to the total disregard for the possibilities of the mind. One of its manifestations is the rapid growth of new and unconventional religions and occult-mystical currents; significant revival of the "secondary" myth-making (in particular, naturalistic, socio-technical); the spread of quasi-religious beliefs and infidelities; overall growth of mystical moods. The study of this aspect of the crisis of modern civilization is an urgent philosophical, religious, cultural and cultural problem.

scholarly journals The Employment of Metaphor and Simile in Selected Siswati Poetry

2019 ◽  
Vol 15 (5) ◽  
pp. 181
Author(s):  
Jozi Joseph Thwala
Keyword(s):  
Literary Criticism ◽  
Textual Analysis ◽  
Language Skills ◽  
Research Work ◽  
Real Life ◽  
Connotative Meaning ◽  
Figures Of Speech ◽  
Poetic Diction ◽  
The Senses ◽  
The Mind

The focus of this research work on selected descriptive of images refers to the analytic survey of metaphor and simile. They are selected, defined, explained and interpreted. Their significances in bringing about poetic diction, licence, meaning, message and themes are highlighted. They are fundamental figures of speech that implicitly and explicitly display the emotive value, connotative meaning, literariness and language skills. The poetic images reflect and represent real life situations through poetic skills and meanings. The literary criticism, comparative and textual analysis is evident when the objects are looked at from animate to inanimate and inanimate to animate. They serve as basic methodologies that are backing the theories and strategies on selected figures of speech. Imagery is the use of words that brings picture of the mind of the receiver or recipient and appeal to the senses. It is, however, manifested in various forms for resemblances, contrasts and comparisons. Artistic language through images revealed poetic views, assertion and facts.

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