2 research outputs found
Critical International Legal Theory
- Author
- Am J Int&apos
- Anne Orford
- Anne Orford
- Annelise Riles
- Antony Anghie
- Antony Anghie
- Arnulf Becker Lorca
- Cait Storr
- Christophe Bonneuil &
- David Kennedy
- David Kennedy
- David Kennedy
- Duncan Kennedy
- E G
- E G See
- E G See
- E G See
- E G See
- E G See
- E G See
- E G See
- E G See
- E G See
- Fleur E. Johns
- Fleur Johns
- Friedrich A Kittler
- Fr�d�ric M�gret
- Gary Shapiro
- Gregor Noll
- Hilary Charlesworth
- Hilary Charlesworth
- Hilary Charlesworth
- J Int&apos
- J Nordic
- J Pol Econ
- Janet E See
- Janet Halley
- Jill Lepore
- John Reynolds
- Johns
- Karen Mickelson
- Lama Abu-Odeh
- Luis Eslava
- Nancy Birdsall
- Nathaniel Berman
- Nathaniel Berman
- Nathaniel Berman
- Nietzschean
- Not Samuel Moyn
- Orford
- P Ved
- Richard Joyce
- Robert Malley
- Ruth Buchanan &
- Susan Marks
- Thomas Skouteris
- Vasuki Nesiah
- Women&apos
- Publication venue
- 'Elsevier BV'
- Publication date
- 01/01/2018
- Field of study
No full textPort of Shadows
- Author
- Alain Badiou
- Alain Badiou
- Alan Williams
- Andrew
- Andrew Spicer
- André Bazin thought the audience could be brought into a closer relationship with the film in another way. In his search for a definition of cinema Bazin sought to decrease the number of cuts and negations, and looked instead to increase the degree of “reality” on screen through the use of depth of field and mise-en-scène. The use of mise-en-scène and depth of field combined with minimal cutting reintroduced ambiguity into the image and allowed the spectator to become more involved, to identify with a reality that seemed increasingly familiar.
- Badiou
- Badiou
- Badiou
- Badiou
- Barthes
- Bazin
- Daniel Vaillancourt
- Driskell
- Driskell
- Driskell
- Dudley Andrew
- Dudley Andrew’s
- Edward Baron Turk
- Flinn
- Ginette Vincendeau
- Heidegger
- Heidegger
- Heidegger
- Heidegger
- Here is the full quote from Nietzsche: “My formula for human greatness is amor fati: not wanting anything to be different not forwards, not backwards, not for all eternity. Not just enduring what is necessary, still less concealing it—all idealism is hypocrisy in the face of what is necessary—but loving it . . .”
- Insofar as the urge takes over the primary kind of being of Dasein it suppresses the already-being-involved-in something along with that something, but it also suppresses the explicit being-ahead-of-itself. For in urge, care is now merely a concern for a “toward and nothing else. ” Urge as such blinds, it makes us blind. We are in the habit of saying that “love is blind. ” Here, love is regarded as an urge and so is replaced by an entirely different phenomenon. For love really gives us sight.
- Jean-Paul Sartre
- Jean-Pierre Jeancolas
- Jean-Pierre Oudart
- John K. Young
- Jonathan Driskell
- Kaja Silverman
- Kaja Silverman
- Kierkegaard
- Lanzoni
- Lanzoni
- Margaret Flinn
- Martin Heidegger
- Martin Heidegger
- Or rather Jacques Prévert, the scriptwriter, does not: “An image of Carné as seen by Prévert is discernible in the film’s most disturbed character, the painter Michel Krauss.”
- Robin Bates
- Roland Barthes
- RĂ©mi Fournier Lanzoni
- Sartre
- Silverman
- Since this article uses Badiou’s philosophy it behooves me to note that Badiou is not as clear in his assessment of cinema as art: cinema is an impure art that “recapitulates the other arts,” and, because of this, a “place of intrinsic indiscernibility between art and non-art.”
- Slavoj Žižek
- Slavoj Žižek
- Stephen Heath
- Søren Kierkegaard
- The painter is philosophical pastiche a bridge of sorts to Nietzschean nihilism.
- This is what Žižek would term an “event ” and a catastrophic one at that, in that it gives us the illusion that we have been ineluctably moving toward this moment, that it is meant to be. For more on this
- Turk
- Turk
- Publication venue
- 'University of Toronto Press Inc. (UTPress)'
- Publication date
- Field of study
No full text
