Noël Carroll, a brilliant and provocative philosopher of film, has gathered in this book eighteen of his most recent essays on cinema and television—what Carroll calls “moving images.” The essays discuss topics in philosophy, film theory, and film criticism. Drawing on concepts from cognitive psychology and analytic philosophy, Carroll examines a wide range of fascinating topics. These include film attention, the emotional address of the moving image, film and racism, the nature and epistemology of documentary film, the moral status of television, the concept of film style, the foundations of film evaluation, the film theory of Siegfried Kracauer, the ideology of the professional western, and films by Sergei Eisenstein and Yvonne Rainer. Carroll also assesses the state of contemporary film theory and speculates on its prospects. The book continues many of the themes of Carroll’s earlier work Theorizing the Moving Image and develops them in new directions. A general introduction by George Wilson situates Carroll’s essays in relation to his view of moving-image studies.

This book maps the presence of moving images within the field of public art through encounters with passersby. It argues that far from mere distraction or spectacle, moving images can produce moments of enchantment that can renew, intensify, or challenge our everyday engagement with public space and each other. These artworks also offer frameworks for understanding how moving images operate in public space—how they move viewers and reconfigure the site of the screen. Each chapter explores a mode of address that examines how artists and curators leverage the moving image’s attentional power to engage audiences, create spaces, make place, and challenge assumptions. This book also examines the difficulties and compromises that arise when using urban screens for public art.

A wide-ranging, eclectic collection of essays on philosophy and the moving image by a pre-eminent philosopher of art This volume presents a selection of philosopher Noël Carroll's essays-several of which appear in print here for the first time-at the intersection of philosophy, film, and television. The volume begins with broad, foundational issues-what the moving image is, the nature of the medium of film and how we should evaluate it-engaging critically with the most essential problems and puzzles in the field. Carroll then moves to more focused issues in the philosophy of film and television. He reflects on whether ethical defects in fictional characters such as Tony Soprano have an impact on artistic excellence; the role of films in political debates (using the examples of Star Trek and Planet of the Apes); the question of whether film can do philosophy in its own way; and philosophical themes in avant-garde cinema. His analysis touches on a broad range of areas in philosophy including metaphysics, epistemology, ethics, politics, and aesthetics. The book then concludes with philosophical re-assessments of key figures in the philosophy of the moving image-Sergei Eisenstein, Arthur Danto, Bela Balasz, and Stanley Cavell. A wide-ranging and eclectic collection of work by a major figure in aesthetics and the philosophy of film and television, this volume will appeal to scholars, students, and cinephiles alike.

Based on an event held at the Imperial War Museum in 2001, this book is a blend of voices and perspectives - archivists, curators, filmmakers, scholars, and Holocaust survivors. Each section examines films and how they have contributed to wider awareness and understanding of the Holocaust since the war.

Elwes takes a journey through the twin histories of landscape art and experimental moving image and discovers how they coalesce in the work of artists from the 1970s to the present day.0Drawing on a wide geographical sampling, Elwes considers issues that have preoccupied film and video artists over the years, ranging from ecology, gender, race, performativity, conflict, colonialism and our relationship to the nonhuman creatures with whom we share our world. The book is informed by the belief that artists can provide an embodied, emotional response to landscape, which is an essential driver in the urgent task of combating the environmental crisis we now face.0The book comprises a series of essays that explore how the moving image mediates our relationship to and understanding of landscapes. The focus is on artists' film and video and draws on work from the 1970s to the present day. Early chapters map the theoretical terrain for both landscape and artists' moving image creating a foundation for the chapters that follow devoted to practice. These address themes of identity politics, performativity and animals and examine examples of British 'weather-blown films' and work from around the world including Indigenous Australian film landscapes. The book offers an informed, personal view of the subject and threaded through the narrative is a concern with the environment and the vexed question of whether an appreciation of nature's aesthetics undermines a commitment to ecology.0The book is written in a clear, engaging style and is enlivened by Elwes's own experiences as a video artist, writer and curator, and the primary material she draws on derived from conversations with fellow practitioners across the years.

A collection of film essays by the well-respected critic, Noël Carroll.

In these innovative essays, Vivian Sobchack considers the key role our bodies play in making sense of today's image-saturated culture. Emphasizing our corporeal rather than our intellectual engagements with film and other media, Carnal Thoughts shows how our experience always emerges through our senses and how our bodies are not just visible objects but also sense-making, visual subjects. Sobchack draws on both phenomenological philosophy and a broad range of popular sources to explore bodily experience in contemporary, moving-image culture. She examines how, through the conflation of cinema and surgery, we've all "had our eyes done"; why we are "moved" by the movies; and the different ways in which we inhabit photographic, cinematic, and electronic space. Carnal Thoughts provides a lively and engaging challenge to the mind/body split by demonstrating that the process of "making sense" requires an irreducible collaboration between our thoughts and our senses.

Seeing into Screens: Eye Tracking and the Moving Image is the first dedicated anthology that explores vision and perception as it materializes as viewers watch screen content. While nearly all moving image research either 'imagines' how its audience responds to the screen, or focuses upon external responses, this collection utilizes the data produced from eye tracking technology to assess seeing and knowing, gazing and perceiving. The editors divide their collection into the following four sections: eye tracking performance, which addresses the ways viewers respond to screen genre, actor and star, auteur, and cinematography; eye tracking aesthetics which explores the way viewers gaze upon colour, light, movement, and space; eye tracking inscription, which examines the way the viewer responds to subtitles, translation, and written information found in the screen world; and eye tracking augmentation which examines the role of simulation, mediation, and technological intervention in the way viewers engage with screen content. At a time when the nature of viewing the screen is extending and diversifying across different platforms and exhibitions, Seeing into Screens is a timely exploration of how viewers watch the screen.

Offering historical and theoretical positions from a variety of art historians, artists, curators, and writers, this groundbreaking collection is the first substantive sourcebook on abstraction in moving-image media. With a particular focus on art since 2000, Abstract Video addresses a longer history of experimentation in video, net art, installation, new media, expanded cinema, visual music, and experimental film. Editor Gabrielle JenningsÑa video artist herselfÑreveals as never before how works of abstract video are not merely, as the renowned curator Kirk Varnedoe once put it, Òpictures of nothing,Ó but rather amorphous, ungovernable spaces that encourage contemplation and innovation. In explorations of the work of celebrated artists such as Jeremy Blake, Mona Hatoum, Pierre Huyghe, Ryoji Ikeda, Takeshi Murata, Diana Thater, and Jennifer West, alongside emerging artists, this volume presents fresh and vigorous perspectives on a burgeoning and ever-changing arena of contemporary art.

Engaging Film is a creative, interdisciplinary volume that explores the engagements among film, space, and identity and features a section on the use of films in the classroom as a critical pedagogical tool. Focusing on anti-essentialist themes in films and film production, this book examines how social and spatial identities are produced (or dissolved) in films and how mobility is used to create different experiences of time and space. From popular movies such as "Pulp Fiction," "Bulworth," "Terminator 2," and "The Crying Game" to home movies and avant-garde films, the analyses and teaching methods in this collection will engage students and researchers in film and media studies, cultural geography, social theory, and cultural studies.