A Pedagogy of Cinema is the first book to apply Deleuze's concept of cinema to the pedagogic context. Cinema is opened up by this action from the straightforward educative analysis of film, to the systematic unfolding of image. A Pedagogy of Cinema explores what it means to engender cinema-thinking from image. This book does not overlay images from films with an educational approach to them, but looks to the images themselves to produce philosophy. This approach to utilising image in education is wholly new, and has the potential to transform classroom practice with respect to teaching and learning about cinema. The authors have carefully chosen specific examples of images to illustrate such transformational processes, and have fitted them into in depth analysis that is derived from the images. The result is a combination of image and text that advances the field of cinema study for and in education with a philosophical intent. " This outstanding new book asks a vital question for our time. How can we educate effectively in a digitalized, corporatized, Orwellian-surveillance-controlled, globalized world? This question is equally a challenge asked of our ability to think outside of the limiting parameters of the control society, and the forces which daily propel us ever-quicker towards worldwide homogenization. With great lucidity, Cole and Bradley offer us profound hope in Gilles Deleuze's increasingly popular notion of 'cine-thinking'. They explore and explain the potential that this sophisticated idea holds for learning, in an easy going and accessible way, and with a range of fantastic films: from 'Suspiria' and 'Performance' through to 'Under the Skin' and 'Snowpiercer'. This extremely engaging and compelling text is likely to enliven scholars and students everywhere. " – David Martin-Jones, Film and Television Studies, University of Glasgow, UK

This paper examines the human condition as portrayed in the film trilogy “The Matrix”. Furthermore it shows the relevance of the movies educational contribution with regard to its criticism of contemporary life. The film reflects current threats to freedom experienced by movie-goers in a “real” world, heavily dependent on machines and electronic devices. It provides an example of an applied popularized philosophy. It incorporates philosophical themes in the plot – reality, existence, knowledge, belief, free will, determinism, and cultural critique – and makes these themes approachable and palatable for a wider audience. I will argue that such contribution, though sometimes flawed, should be welcomed by educators of philosophy.

Comparative Literature Studies, 2016

Entanglements, or Transmedial Thinking about Capture. By Rey Chow. Durham: Duke University Press, 2012. vii + 194 pp. $23.95.

Midwest Studies in Philosophy, 2003

O ne aspect of the development of the philosophy of film in recent years has been the proliferation of philosophical interpretations of films. This growth can be measured in a variety of ways. Here, let me just call attention to a number of recent books that focus on film as a source for philosophical enlightenment, such as Peter French's Cowboy Metaphysics: Ethics and Death in the Western, 2 Joseph Kupfer's Visions of Virtue in Popular Film, 3 and my own, Unlikely Couples: Movie Romance as Social Criticism. 4 These three books-and there are others that I could have chosen as equally significant-show that philosophers are turning with increasing frequency to film as a way of doing philosophy and that they see film as a resource for enriching philosophic discussions of a range of ethical, social, and even metaphysical questions. Despite this trend, there have been very few discussions of the question of what legitimates this procedure, of how films can have philosophic content. Although philosophers such as Stanley Cavell and Ian Jarvie discussed this as early at 1971, it is not an issue that has attracted the sustained attention from philosophers that a variety of other questions have that fall, broadly speaking, within the realm of traditional aesthetics. 5 I think this is unfortunate because, as the number of books and articles that link film and philosophy grows, it is important that we have

Educational researchers have rarely, if ever, focused attention on the public perception of educational technology, even though these popular/societal perceptions may drive investment and implementation at broader levels. In this paper we seek to provide an understanding of this phenomena through a thematic analysis of how educational technology is represented in popular cinema. Our analysis revealed some key themes based on the filmmakers' contextual perspective towards educational technology. These themes include: an utopian/dystopian perspective towards educational technology; use as a tool for learning and unlearning; and integration of theories of mind (reflecting an historical perspective towards theories of learning). In conclusion, educational technology in films is seen as a medium to enhance learning, provide convenience, and control the factor and consumption of time.

Glokalde, 2024

The current use of film in undergraduate anthropology classes has been employed to enhance class lectures as well as to vary teaching methods. The goal of this study was to create a design for a set of immersive and interactional films to supplement active pedagogy. A primary research question was asking what is the value of mixing written ethnography with watching video in what is known as an “addon” approach in a class on ethnography. The outcome was to amplify the existing pedagogy by creating media, particularly films, that enable students to apply fieldwork experiences through mediated immersive experiences in and beyond their classroom settings. Guided by explicit foundational learning theories and developed with special technical requirements such as 360-degree video cameras, we created a design for media that offers an experience that richly weaves into the course experience. Through active, kinesthetic learning, the media facilitated information processing from the learners' short to long-term memory. The results show that intentionally created media aligned with proper course design can produce immersive experiences for students, enabling them to produce thick descriptions of the social worlds they encounter. The study should be read concerning limitations related to the effects of VR technology on viewing content, which include the potential for creating a disorienting effect producing nausea and discomfort.

Just as modernization did in a previous era, postmodernization or informatization today marks a new mode of becoming human." 1

2005

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Critical Quarterly, 2009

The theatre of Jay Scheib blends theatrical and filmic features in manner that asks for a theoretical investigation of the manner in which two different media coexist on the same expressive support. How can two distinct media like film and thetre fuse and, at the same time, be apprehended as different. The article uses an application of the mechanisms of relationship between two physical systems issued from the “quantum mechanical view of reality”. The two media are in an entangled state that blends both possibilities. Media is understood as “potential materials or forms for future practices”. Under a mode of conceptualizing the ensemble the static difference is unfolded in time in a dynamic conceptualization. Dynamic conceptualization will disturb or “tune” the apprehension of one of the media considered a ground or subordinate system. The blending of the two media presupposes a local conceptualization unfolding dynamically, and an entangled one manifested nonlocal. Difference between film and theatre is also to be seen as a difference in the cognitive model which posits a detached display / a screen and a spectator / observer. In theater the body of the observer is in the theatrical detached display side and in film the body is conceptualized to be separated from the display. The notion of “threshold” introduced by Dudley Andrew translates this shift of attention from one side to the other of the display. Keywords: theatre, film, media, entanglement, automatism, conceptualization, category