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A seminal thinker of the twentieth century, Wittgenstein’s revolutionary ideas have had an impact in disciplines beyond philosophy including psychology, the natural sciences, linguistics, mathematics, logic, art, religion, artificial intelligence and software design.
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| An empirical approach? Guy Pearce as Leonard Shelby in Memento (Christopher Nolan, 2000) |
Scholars often resist the cognitive approach to art because they're reluctant to mount causal or functional explanations. Instead of asking how films work or how spectators understand films, many scholars prefer to offer interpretive commentary on films. Even what's called film theory is largely a mixture of received doctrines, highly selective evidence, and more or less free association. Which is to say that many humanists treat doing film theory as a sort of abstract version of doing film criticism. They don't embrace the practices of rational inquiry, which includes assessing a wide body of evidence, seeking out counterexamples, and showing how a line of argument is more adequate than its rivals. [David Bordwell, introducing a free download of his article 'A Case for Cognitivism: Further Reflections', Iris no. 11 (Summer 1990): 107–112.]Film Studies For Free has previously only touched on the burgeoning field of cognitivist film studies in passing. Today, however, it has decided to gather together links to some excellent online resources, above all from two journals -- Film Studies and The Journal of Moving Image Studies -- in order to provide a good introduction to this field, as well as to the related field of analytic (film) philosophy, two increasingly influential sets of approaches to our discipline.
Diposting oleh good reading on Sabtu, 23 Oktober 2010
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Diposting oleh good reading on Rabu, 20 Oktober 2010
Let us by all means study our genes, and their associations with our various shapes and sizes... But let's not let it distract us from the fact that our genes have not changed to account for the modern advent of epidemic obesity -- our environments and lifestyles have.Exactly. So I don't usually pay much attention to "obesity genes", although I do think genetics contributes to how a body reacts to an unnatural diet/lifestyle. However, the first part of his statement is important too. Studying these types of associations can give us insights into the biological mechanisms of obesity when we ask the question "what do these genes do?" The processes these genes participate in should be the same processes that are most important in regulating fat mass.
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| Image from Black Narcissus (Michael Powell and Emeric Pressburger, 1947) |
[Black Narcissus]’s trauma-tale is inseparable from the doomed project [of Imperialism]: it is predicated on the vertiginous nature of culture shock. The lofty palace-convent perched on the edge of a mountain precipice [...] seems a visual metonym. Sister Clodagh may want to heal and enlighten “a primitive people”, but, when she looks up and then looks down from the bell tower, she is completely lost. Powell and Pressburger have transposed the ‘edge of the world’ from Foula at the tip of the Shetlands in Powell’s 1937 Scottish picture (The Edge of the World) to India’s border with the high Himalayas; from the edge of the Roman Empire to the edge of the British Empire. The former, of course, was long gone; the latter was about to expire. The end of empire is literally vertiginous, its trauma doubly embedded, or embodied, in the figures of Clodagh and sickly Sister Ruth (Kathleen Byron). Ruth cannot hack the chasm of culture that confronts her and wants out; Clodagh, disillusioned after a romance in Ireland has ended when her boyfriend leaves for America without her, seeks solace in the Order. Flashback shows us the rural idyll of Irish sweethearts fishing and riding amidst fields and hills of emerald Technicolor, the flame-haired Clodagh slim, free-spirited and ravishing, like a figure from a Pre-Raphaelite painting. The long auburn hair now concealed under the all-embracing convent habit is never to reappear. As the fragile Order starts to crumble after the unfortunate death of a local child, the febrile Sister Ruth sheds her habit to reappear in scarlet lipstick and a lush crimson dress; for the shocked Clodagh, perhaps a melodramatic return of the repressed – the erotic red of the painted lips matched by the sensual velvet that highlights the shape of the female figure rather than burying it under a mountain of white cloth. [John Orr, 'The Trauma Film and British Romantic Cinema 1940-1960', Senses of Cinema, Issue 51, 2009]Filled with the joys of Open Access Week 2010, Film Studies For Free brings you a small but perfectly formed 'study of a single film' resource: a little list of openly accessible online articles on Michael Powell and Emeric Pressburger's 1947 film Black Narcissus.
Diposting oleh good reading on Selasa, 19 Oktober 2010
Sweet Potato