Wilfred Bion’s theories of dreaming, of the analytic situation, of reality and everyday life, and even of the contact between the body and the mind offer very different, and highly fruitful, ...perspectives on lived experience. Yet very little of his work has entered the field of visual culture, especially film and media studies. Kelli Fuery offers an engaging overview of Bion’s most significant contribution to psychoanalysis- his theory of thinking- and demonstrates its relevance for why we watch moving images.
Bion’s theory of thinking is presented as an alternative model for the examination of how we experience moving images and how they work as tools which we use to help us ‘think’ emotional experience. ‘Being Embedded’ is a term used to identify and acknowledge the link between thinking and emotional experience within the lived reception of cinema. It is a concept that everyone can speak to as already knowing, already having felt it - being embedded is at the core of lived and thinking experience. This book offers a return to psychoanalytic theory within moving image studies, contributing to the recent works that have explored object relations psychoanalysis within visual culture (specifically the writings of Klein and Winnicott), but differs in its reference and examination of previously overlooked, but highly pivotal, thinkers such as Bion, Bollas and Ogden. A theorization of thinking as an affective structure within moving image experience provides a fresh avenue for psychoanalytic theory within visual culture.
Wilfred Bion, Thinking, and Emotional Experience with Moving Images will appeal to psychoanalysts and psychoanalytic psychotherapists, as well as scholars and students of film and media studies, cultural studies and cultural sociology and anthropology, visual culture, media theory, philosophy, and psychosocial studies.
Los estudios sobre el envejecimiento son una disciplina relativamente nueva cuya intersección con la teoría fílmica feminista puede conducir a importantes replanteamientos metodológicos y teóricos, ...siendo uno fundamental: la concepción del cine como una poderosa tecnología de la edad. Este ensayo ofrece un panorama del etarismo que ha impregnado las sociedades occidentales con relación al lugar que tanto el envejecimiento como las cuestiones de género han ocupado en la cultura visual. A la luz de planteamientos feministas contemporáneas sobre el envejecimiento y las narrativas del envejecimiento, este ensayo tiene por objeto proponer posibles nuevas direcciones que el cine y la teoría fílmica feminista pueden tomar como parte de un nuevo marco epistemológico. De la misma manera, también explora nuevos paradigmas teóricos a través de perspectivas interseccionales para deconstruir el etarismo de la industria cinematográfica. Finalmente, al centrarse en narrativas sobre el envejecimiento femenino en producciones cinematográficas no hegemónicas, este ensayo propone alejarse de los planteamientos binarios de decadencia/éxito, y sugiere formas afirmativas de mirar los cuerpos que envejecen y de comprender el envejecimiento.
Although neglected for decades, American poet, journalist, and painter Nicholas Vachel Lindsay (1879-1931) made a significant contribution to the rising film theory with his book The Art of The ...Moving Picture, the first American study of a kind, published in 1915. Having noticed the widespread popularity of silent movies among the millions of film lovers in the USA, Lindsay proposed that this new visual art form, which, according to him, represented a combination of a traditional theatre play and diverse elements of painting, sculpture, architecture and other forms of visual expression that he called photoplay, could, in due time, become a truly American art brand. For that reason, he advocated the establishment of film schools, film libraries and archives, as well as the use of film for educational purposes in schools. This paper analyzes Lindsay’s key theoretical tenets of film as an important fine art as presented in his book The Art of The Moving Picture, as well as his visionary predictions regarding the later development of film (and later television) as not just lucrative, commercial products, but also an interesting field of academic study.
Chemical reactions can have a significant impact on the overall rate of mass transfer in fluid–fluid applications (such as gas absorption in a liquid or liquid–liquid extraction). However, as for non ...reacting systems, the rate at which a solute is exchanged between the two fluids is difficult to predict accurately. Yet from a theoretical point of view, most studies address uniform diffusion transport or creeping flow, i.e. conditions enabling the derivation of analytical or simple numerical solutions of the solute transport equation, therefore neglecting the effect of convection in the case of coupled mass transfer problems. On the other hand, experimental investigations available in the literature provided correlations corresponding to flow conditions, shape and contamination of the interface which are extremely difficult to control precisely.
Direct numerical simulation (DNS) is therefore a powerful tool to investigate the coupling of hydrodynamics with transfer and reaction. It was recently applied to model the internal and external resistances (or Sherwood numbers, Shi and She) prevailing during the transfer of a non reacting solute, in the general case of conjugate mass transfer from a moving spherical droplet (Godé et al., 2023; 2024). This study is complemented by considering a first order reaction that consumes the transferred solute in the continuous phase. The results indicate that the double film model, based on these last correlations for Shi and She, with She corrected by an enhancement factor allows obtaining accurate predictions of the overall mass transfer coefficient in the case of a reactive conjugate problem, thus extending the work of Juncu (2002) to flows at moderate or even high Re, as long as the droplet remains spherical and the flow axisymmetric.
•DNS reveals the enhancement of interfacial transfer due to a chemical reaction.•Specific features non predicted by the film theory are highlighted.•Definitions of the enhancement factor are discussed thanks to the DNS results.•Overall Sherwood number is accurately predicted by the proposed correlation.
Watership Down (Martin Rosen, 1978) is as controversial as it is beloved. Whether due to the tear-jerking hit song 'Bright Eyes' or its notorious representation of violence inflicted by and upon ...animated rabbits, the film retains the ability to move and shock audiences of all ages, remaining an important cultural touchstone decades after its original release. This open access collection unites scholars and practitioners from a diversity of perspectives to consider the ongoing legacy of this landmark of British cinema and animation history. The authors provide nuanced discussions of Watership Down’s infamous animated depictions of violence, death and its contentious relationship with child audiences, as well as examinations of understudied aspects of the film including its musical score, use of language, its increasingly relevant political and environmental themes and its difficult journey to the screen, complete with behind-the-scenes photographs, documents and production artwork. As the first substantial work on Watership Down, this book is a valuable companion on the film for scholars, students and fans alike. The eBook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.
Philosophy of film without theory is a methodology that aims to motivate and legitimise the current and future development of a range of a-, non-, and anti-theoretical ways of working at the ...intersection of film and philosophy. We contrast philosophy of film without theory with the main traditions of theoretically orientated philosophy of film, as well as philosophically inflected film Theory and film-philosophy. We also draw attention to the range of philosophical practices and pursuits that distinguish philosophy (in general) without theory and contemporary philosophy (in general) with its near ubiquitous theoretical presumption. The paper finishes with a brief introduction to the various contributions to this Special Issue of Aesthetic Investigations on Philosophy of Film Without Theory.
Philosophy of film without theory is a methodology that aims to motivate and legitimise the current and future development of a range of a-, non-, and anti-theoretical ways of working at the ...intersection of film and philosophy. We contrast philosophy of film without theory with the main traditions of theoretically orientated philosophy of film, as well as philosophically inflected film Theory and film-philosophy. We also draw attention to the range of philosophical practices and pursuits that distinguish philosophy (in general) without theory and contemporary philosophy (in general) with its near ubiquitous theoretical presumption. The paper finishes with a brief introduction to the various contributions to this Special Issue of Aesthetic Investigations on Philosophy of Film Without Theory.
In the process, Ma’s book offers a good primer on the history of moving-image spectatorship; a methodological model for writing fluidly across film and visual art, world cinema and media archaeology; ...and an example of how to use non-Western moving-image practices to interrogate the premises of Western film and media theory. Ma hints at such a distinction in chapter 9 when she singles out the sleepers in Weegee’s photographs of movie audiences from those distracted by other activities; but she seems to backtrack in the final chapter when she groups SLEEPCINEMAHOTEL with superficially related twenty-four-hour art installations that “do not generate relaxation or even a minimal degree of comfort” (200), and thus would seem to elicit a spectatorial response wholly different from Apichatpong’s soporific work. If these works help to intervene in the Euro-American paradigms that still orient globalist approaches to scholarship (whether in the realm of world cinema or global contemporary art), casting them in a strange new light—or, more fittingly, an unfamiliar darkness—then perhaps it’s time to move into that darkness and leave these paradigms behind altogether.
This open access collection deals with musical moments in film as one of the most pivotal and compelling issues of current film music research. Musical moments as defined by Amy Herzog occur when a ...musical number inverts the normal relationship between the image track and the soundtrack in a film in such a way that what we see is determined by what we hear. As one potential approach, this definition provokes a variety of perspectives to investigate the disruptive potential of these moments and numbers as a creative device in the production of audiovisual narratives.
Dieser Open Access Sammelband behandelt musikalische Momente im Film als zentrales und wegweisendes Thema aktueller Filmmusikforschung. Musikalische Momente wie von Amy Herzog (2009) definiert, treten dann auf, wenn die konventionelle Beziehung im Film zwischen Bild und Ton umgekehrt wird, so dass das was wir sehen von dem was wir hören bestimmt wird. Diese Definition ermöglicht neue Ansätze um besonders das disruptive Potential dieser musikalischen Momente und Nummern als kreatives Mittel der Produktion audiovisueller Erzählungen zu untersuchen.
PDF
