• When is it OK to lie about the past? If history is a story, then everyone knows that the 'official story' is told by the winners. No matter what we may know about how the past really happened, history is as it is recorded: this is what George Orwell called doublethink. But what happens to all the lost, forgotten, censored, and disappeared pasts of world history? Cinema Against Doublethink uncovers how a world of cinemas acts as a giant archive of these lost pasts, a vast virtual store of the wor…Read more
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    Contributors
    Comparative and Continental Philosophy 1 (2): 157-160. 2009.
  •  10
    In This Issue
    Comparative and Continental Philosophy 1 (2): 155-156. 2009.
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    This article explores the usefulness of Latin American philosopher Enrique Dussel's work for film-philosophy, as the field increasingly engages with a world of cinemas. The piece concludes with an analysis of two films with an ecological focus, Trolljegeren/Troll Hunter and The Hunter. They are indicative of a much broader emerging trend in ecocinema that explores the interaction between humanity and the environment in relation to world history, and which does so by staging encounters between pe…Read more
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    Invaginating Antonioni
    Film-Philosophy 3 (1). 1999.
    Peter Brunette _The Films of Michelangelo Antonioni_ Cambridge: Cambridge University Press, 1998 ISBN 0-521-38992-5 186 pp
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    What is Film-Philosophy? Round Table
    Film-Philosophy 14 (1). 2010.
    Held on Monday 12th October 2009, 5.30 - 7.00 pm, University of St Andrews, Scotland.  Participants Dr Robert Sinnerbrink (Philosophy, Macquarie University, Sydney, Australia) Dr John Mullarkey (Philosophy, University of Dundee) Professor Berys Gaut (Philosophy, University of St Andrews) Dr David Martin-Jones (Film Studies, University of St Andrews) Dr William Brown (Film Studies, University of St Andrews)Over the course of at least the last hundred years the intellectual study of cinema has exp…Read more
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    A Site for Sore Eyes
    Film-Philosophy 3 (1). 1999.
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    Deleuze and world cinemas
    Continuum. 2011.
    Introduction : deterritorializing Deleuze -- Spectacle I : attraction-image -- History : Deleuze after dictatorship -- Space : geopolitics and the action-image -- Spectacle II : Masala-image -- Conclusion : the continuing adventures of Deleuze and world cinemas.
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    Towards Another '–Image': Deleuze, Narrative Time and Popular Indian Cinema
    Deleuze and Guatarri Studies 2 (1): 25-48. 2008.
    Popular Indian cinema provides a test case for examining the limitations of Gilles Deleuze's categories of movement-image and time-image. Due to the context-specific aesthetic and cultural traditions that inform popular Indian cinema, although it appears at times to be both movement- and time-image, it actually creates a different type of image. Analysis of Toofani Tarzan (1936) and Dilwale Dulhania Le Jayenge (1995) demonstrates how, alternating between a movement of world typical of the time-i…Read more