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Vol 3 No 2: Special Issue: Philosophy of Film Without Theory
"L'Argent" (Robert Bresson, 1983).
Published:
2020-07-25
From the Editor
Research as Scrutiny. Our most demanding issues are aesthetic issues.
Rob van Gerwen
i-v
editorial.pdf
Philosophy of film without theory
Inaugurating Philosophy of Film Without Theory
Craig Fox, Britt Harrison
175-184
Fox & Harrison
"Police Adjective" and Attunement to the Significance of Things
Craig Fox
185-199
Fox.pdf
"The New World": Heideggerian or Humanist Cinema?
Britt Harrison
200-227
Harrison.pdf
Mourning the Loss of the Ordinary. A Cavellian Reading of Ozu’s "Late Spring"
Jônadas Techio
228-259
Techio.pdf
With Friends Like These… or: How Not to Respond to the Imposition Objection
Katheryn Doran
260-268
Doran.pdf
Mother-Daughter Identity Constructs in "Lady Snowblood" and "Carrie"
Kristin A. Hrehor
269-283
Hrehor.pdf
Emerson’s Vision of America in John Ford’s "Stagecoach"
Michael Forest
284-310
Forest.pdf
Getting Away with Murder? "Crimes and Misdemeanors" and Alternative Conceptions of Justice
Mikel Burley
311-326
Burley.pdf
When the silent universe speaks. Testing Camus’ notion of the absurd in the alien encounters of "Contact" and "Arrival"
Shai Tubali
327-346
Tubali.pdf
The Flesh is Weak. Empathy and Becoming Human in Jonathan Glazer's "Under the Skin"
Colin Heber-Percy
347-364
Heber-Percy.pdf
What They See is What We Get in Film: Reality Tells the Fiction
Rob van Gerwen
365-386
van Gerwen.pdf
Ordinary Language Film Studies
Andrew Klevan
387-406
Klevan.pdf
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