Rethinking Bazin: Ontology and Realist Aesthetics
2006; University of Chicago Press; Volume: 32; Issue: 3 Linguagem: Inglês
10.1086/505375
ISSN1539-7858
Autores Tópico(s)Photography and Visual Culture
ResumoPrevious articleNext article No AccessRethinking Bazin: Ontology and Realist AestheticsDaniel MorganDaniel MorganPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Critical Inquiry Volume 32, Number 3Spring 2006 Article DOIhttps://doi.org/10.1086/505375 Views: 1408Total views on this site Citations: 67Citations are reported from Crossref © 2006 by The University of Chicago.PDF download Crossref reports the following articles citing this article:Lourdes Esqueda Verano There is no such thing as one realism: systematising André Bazin's film theory, New Review of Film and Television Studies 20, no.33 (Aug 2022): 401–423.https://doi.org/10.1080/17400309.2022.2088979Martin Lefebvre Photography and Semiotics: Use and Purpose, Critical Inquiry 48, no.44 (May 2022): 742–773.https://doi.org/10.1086/719852Oliver Kenny Beyond critical partisanship: ethical witnessing and long takes of sexual violence, Studies in European Cinema 19, no.22 (Nov 2020): 164–178.https://doi.org/10.1080/17411548.2020.1778846Jiří Anger Do archivists dream of electric horses? Digital Kříženecký, static electricity, and the quadruple logic of indexicality, Studies in Eastern European Cinema 13, no.11 (Dec 2020): 90–111.https://doi.org/10.1080/2040350X.2020.1845007Corey P. Cribb "To Believe in an Image (Again)", Cultural Politics 17, no.33 (Nov 2021): 314–332.https://doi.org/10.1215/17432197-9305391Ricardo Samaniego de la Fuente Adorno's Magic Lantern: On Film, Semblance, and Aesthetic Heteronomy, New German Critique 48, no.22 (Aug 2021): 147–175.https://doi.org/10.1215/0094033X-8989302Junghyun Hwang Identifying the Genre of The Journals of Musan as Ontological Affective Realism, Comparative Literature: East & West 5, no.22 (Dec 2021): 179–203.https://doi.org/10.1080/25723618.2021.2003606Jeff Fort André Bazin's Eternal Returns: An Ontological Revision, Film-Philosophy 25, no.11 (Feb 2021): 42–61.https://doi.org/10.3366/film.2021.0156Christian Pischel Indexikalität und filmischer Realismus, (Mar 2021): 323–343.https://doi.org/10.1007/978-3-658-08998-6_17Kyle Barrowman Daniel Shaw (2019) Stanley Cavell and the Magic of Hollywood Films, Film-Philosophy 24, no.33 (Oct 2020): 371–374.https://doi.org/10.3366/film.2020.0151Marguerite La Caze REALISM AS RESISTANCE, Angelaki 25, no.55 (Sep 2020): 156–170.https://doi.org/10.1080/0969725X.2020.1807148Susanne Saether, Synne Tollerud Bull, William Brown, Giuliana Bruno, Allan Cameron, Noam Elcott, Nanna Verhoeff, Kristen Whissel, Miriam Rosa, Wanda Strauven, Jennifer Pranolo, Tom Gunning, Miriam Ross Screen Space Reconfigured, (Jun 2020).https://doi.org/10.5117/9789089649928_ch02Constantine V. Nakassis The ontological politics of the spoof image in Tamil cinema, New Review of Film and Television Studies 17, no.44 (Sep 2019): 423–455.https://doi.org/10.1080/17400309.2019.1667056Lourdes Esqueda Verano El cine como espejo diferido: el concepto de transferencia en André Bazin y Stanley Cavell, Palabra Clave 22, no.33 (Jun 2019): 1–27.https://doi.org/10.5294/pacla.2019.22.3.4CATO WITTUSEN Bazin, an Early Late Modernist, The Journal of Aesthetics and Art Criticism 77, no.33 (Aug 2019): 295–306.https://doi.org/10.1111/jaac.12648Richard Neer Lightweight: Mizoguchi, Ugetsu, and the Displacement of Criteria, Critical Inquiry 45, no.22 (Dec 2018): 471–505.https://doi.org/10.1086/700968Michael Temple, Daniel Morgan Debates 1950–80, (Jan 2018): 234–240.https://doi.org/10.1057/978-1-349-92909-2_27 Introduction, (Jan 2018): 1–18.https://doi.org/10.1215/9780822372165-001 Rancière's Partager, (Jan 2018): 19–39.https://doi.org/10.1215/9780822372165-002 Rancière's Police Poetics, (Jan 2018): 40–62.https://doi.org/10.1215/9780822372165-003 Rancière's Style, (Jan 2018): 63–84.https://doi.org/10.1215/9780822372165-004 Rancière's Democratic Realism, (Jan 2018): 85–98.https://doi.org/10.1215/9780822372165-005 Conclusion, (Jan 2018): 99–103.https://doi.org/10.1215/9780822372165-006 Notes, (Jan 2018): 105–128.https://doi.org/10.1215/9780822372165-007 Bibliography, (Jan 2018): 129–136.https://doi.org/10.1215/9780822372165-008Marc Furstenau Film Editing, Digital Montage, and the "Ontology" of Cinema, Cinémas 28, no.2-32-3 (Feb 2020): 29–49.https://doi.org/10.7202/1067492arConstantine V. Nakassis Rajini's Finger, Indexicality, and the Metapragmatics of Presence, Signs and Society 5, no.22 (Oct 2017): 201–242.https://doi.org/10.1086/692128Swagato Chakravorty Daniel Yacavone (2015) Film Worlds: A Philosophical Aesthetics of Cinema, Film-Philosophy 21, no.11 (Feb 2017): 152–155.https://doi.org/10.3366/film.2017.0039Christian Pischel Indexikalität und filmischer Realismus, (Aug 2017): 1–21.https://doi.org/10.1007/978-3-658-09514-7_17-1John Gibbs, Douglas Pye , ( 2017): 1.https://doi.org/10.1057/978-1-137-58573-8_1Lisa Purse , ( 2017): 221.https://doi.org/10.1057/978-1-137-58573-8_15Mario Slugan Taking Bazin Literally, Projections 11, no.11 (Jan 2017).https://doi.org/10.3167/proj.2017.110105Maurizio Guercini Image et réalité dans la théorie cinématographique d'André Bazin, Cinémas 28, no.11 (Nov 2018): 89–105.https://doi.org/10.7202/1053856arPatrick R. Crowley Roman Death Masks and the Metaphorics of the Negative, Grey Room 64 (Jul 2016): 64–103.https://doi.org/10.1162/GREY_a_00197B. Scot Rousse Merleau-Ponty and Carroll on the Power of Movies, International Journal of Philosophical Studies 24, no.11 (Nov 2015): 45–73.https://doi.org/10.1080/09672559.2015.1107911 Luo, Ting Neither Here nor There: The Representation of Post-Socialist Space in The World and Still Life and Jia Zhangke's Transcendence of Realism, Sungkyun Journal of East Asian Studies 15, no.22 (Oct 2015): 149–171.https://doi.org/10.21866/esjeas.2015.15.2.001Ryan Pierson Whole-Screen Metamorphosis and the Imagined Camera (Notes on Perspectival Movement in Animation), Animation 10, no.11 (Mar 2015): 6–21.https://doi.org/10.1177/1746847715570812Richard Allen "There Is Not One Realism, But Several Realisms": A Review of Opening Bazin, October 148 (May 2014): 63–78.https://doi.org/10.1162/OCTO_a_00175Douglas Smith (Dé)collage, (Apr 2014): 210–223.https://doi.org/10.1002/9781118586815.ch15Johannes Von Moltke Theory of the Novel: The Literary Imagination of Classical Film Theory, October 144 (May 2013): 49–72.https://doi.org/10.1162/OCTO_a_00140Douglas Smith Introduction: Revisiting André Bazin, Paragraph 36, no.11 (Mar 2013): 1–9.https://doi.org/10.3366/para.2013.0074Daniel Morgan Bazin's Modernism, Paragraph 36, no.11 (Mar 2013): 10–30.https://doi.org/10.3366/para.2013.0075Andy Stafford Bazin and Photography in the Twenty-First Century: Poverty of Ontology?, Paragraph 36, no.11 (Mar 2013): 50–67.https://doi.org/10.3366/para.2013.0077Colin MacCabe, Ph. Roger Réalisme « cinématique », Critique n° 795-796, no.88 (Jan 2013): 720.https://doi.org/10.3917/criti.795.0720Robert Sinnerbrink Cinematic Belief, Angelaki 17, no.44 (Dec 2012): 95–117.https://doi.org/10.1080/0969725X.2012.747332Joshua Malitsky Science and Documentary: Unity, Indexicality, Reality, Journal of Visual Culture 11, no.33 (Jan 2013): 237–257.https://doi.org/10.1177/1470412912455615Oliver Gaycken 'Beauty of Chance': Film ist, Journal of Visual Culture 11, no.33 (Jan 2013): 307–327.https://doi.org/10.1177/1470412912455618 THE EVENT OF CINEMA, Cultural Critique 82 (Oct 2012): 95–127.https://doi.org/10.5749/culturalcritique.82.2012.0095Stefanie Harris Moving Stills, (May 2012): 127–148.https://doi.org/10.1002/9781118274491.ch5Francesco Casetti Sutured Reality: Film, from Photographic to Digital, October 138 (Oct 2011): 95–106.https://doi.org/10.1162/OCTO_a_00069Michael Allan Deserted histories: The Lumière Brothers, the pyramids and early film form, Early Popular Visual Culture 6, no.22 (Jul 2008): 159–170.https://doi.org/10.1080/17460650802150416Jennifer Fay Seeing/Loving Animals: André Bazin's Posthumanism, Journal of Visual Culture 7, no.11 (Apr 2008): 41–64.https://doi.org/10.1177/1470412907088175Karen Beckman, Jean Ma Introduction, (Jan 2008): 1–19.https://doi.org/10.1215/9780822391432-001Tom Gunning What's the Point of an Index? or, Faking Photographs, (Jan 2008): 23–40.https://doi.org/10.1215/9780822391432-003Timothy Corrigan "The Forgotten Image between Two Shots", (Jan 2008): 41–61.https://doi.org/10.1215/9780822391432-004Juan A. Suárez Structural Film, (Jan 2008): 62–89.https://doi.org/10.1215/9780822391432-005Atom Egoyan An Essay on Calendar, (Jan 2008): 93–97.https://doi.org/10.1215/9780822391432-007Jean Ma Photography's Absent Times, (Jan 2008): 98–118.https://doi.org/10.1215/9780822391432-008Rebecca Baron, interviewed by Janet Sarbanes The Idea of Still, (Jan 2008): 119–133.https://doi.org/10.1215/9780822391432-009Karen Beckman Crash Aesthetics, (Jan 2008): 134–157.https://doi.org/10.1215/9780822391432-010Rita Gonzalez Surplus Memories, (Jan 2008): 158–171.https://doi.org/10.1215/9780822391432-011George Baker Photography's Expanded Field, (Jan 2008): 175–188.https://doi.org/10.1215/9780822391432-013Nancy Davenport Weekend Campus, (Jan 2008): 189–195.https://doi.org/10.1215/9780822391432-014Louis Kaplan Aleph Beat, (Jan 2008): 196–225.https://doi.org/10.1215/9780822391432-015Zoe Beloff Mental Images, (Jan 2008): 226–252.https://doi.org/10.1215/9780822391432-016Raymond Bellour Concerning "the Photographic", (Jan 2008): 253–276.https://doi.org/10.1215/9780822391432-017 References, (Jan 2008): 277–291.https://doi.org/10.1215/9780822391432-018
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