Una introducción a la filosofía a través del análisis de películas
Author: Julio Cabrera
Publisher: Editorial GEDISA
Julio Cabrera aúna en este libro sus dos grandes pasiones: el cine y la filosofía. En cada capítulo de este libro Cabrera analiza una o más películas elegidas cuidadosamente para reflexionar sobre una cuestión filosófica central. Aristóteles y los ladrones de bicicletas; Bacon y Steven Spielberg; Descartes y los fotógrafos indiscretos, Schopenhauer, Buñuel y Frank Capra; Nietzsche, Clint Eastwood y los asesinos por naturaleza; o Wittgenstein y el cine mudo son algunos de los ejercicios filocinematrográficos propuestos. Los comentarios de películas que el lector encontrará destacan aquellos puntos del filme que deben contribuir a la instauración de la experiencia vivida de un problema filosófico. Esta experiencia en sí es insustituible y nadie podrá tenerla por uno. Tan sólo señalo los lugares en donde el filme duele, en donde puede aprenderse alguna cosa padeciéndolo. Estamos ante el encuentro no programado y mutuamente esclarecedor entre una actividad milenaria del ser humano y uno de los más fascinantes lenguajes emergentes de los últimos tiempos: 100 años de imágenes tratando de representar 2.500 años de reflexión
A pesar de las historias que le cuenta su abuelo, Joanna no cree que los ángeles puedan existir. "Si no lo veo, no lo creo" es su lema. Una noche, mientras está sola en la terraza de su edificio, conoce a Dante, un hermoso muchacho de ojos violáceos al que rodea un misterioso halo de oscuridad. Pronto ella comprende que ese joven que sólo se le aparece de noche, no es un ser humano, sino algo más... Y hay otra cosa verdaderamente inquietante: él se niega a tocarla. Como si estuviera ocultando un secreto que no se atreve a confesar. La presencia de Dante cambiará a Joanna para siempre y sus ojos se abrirán a un universo que jamás pensó posible. ¿Podrá su amor burlar al destino que los separa? ¿Será aquel sentimiento lo suficientemente poderoso como para vencer a las fuerzas de la naturaleza?
Vampires have been a fixture of film since Bela Lugosi brought Bram Stoker’s Dracula to life on the big screen in 1931. Over the decades the genre has been far from static, as vampire narratives changed and evolved with the appetites of their viewing public. First depicted as formally dressed villains, vampires would later be portrayed as supernatural beings with some human characteristics, and still later as sympathetic figures. Focusing on 19 representative films and television productions, this critical study tracks the evolutionary changes of the screen vampire. It explores the factors that cause a genre to change and examines the alternating cycles of audience expectation. The author identifies three distinct modes of depiction: the Malignant Cycle (1931–1948), comprised primarily of the Universal films; the Erotic Cycle (1957–1985), which encompasses Hammer films and popular television shows such as Dark Shadows; and the Sympathetic Cycle (1987–present) including recent offerings such as The Lost Boys, Interview with the Vampire and Buffy the Vampire Slayer. Each film is evaluated in seven key areas including the act of the vampire biting the victim; process of the victim’s infection; physical appearance and demeanor of the vampire and the vampire expert; and the eventual destruction of the vampire. Appendices include a complete filmography of the films examined. Instructors considering this book for use in a course may request an examination copy here.
This all-inclusive A-Z encyclopedia by one of the world's foremost experts on cinema provides comprehensive annotations of the best films produced from 1914 on. The work offers more than 5,000 three- to five-star entries (three stars=good; four stars=excellent; five stars=masterpiece), and yes, author Jay Robert Nash has viewed every single one of them as well as many more that did not "make the cut." In addition to a precis, each film's entry also includes a listing of the cast as well as the key principles involved in production, from the director to the hair stylist. Especially unique to this book is a rating system that helps parents determine whether or not a film is appropriate for their children. Unlike the industry rating system which can be influenced by studio lobbying, Nash objectively evaluates each film and confers upon it one of four recommendations for viewing: recommended, acceptable, cautionary, and unacceptable. Backmatter includes a list of top films by genre (i.e. animated, drama, sports, mystery, adventure etc.) as well as an annotated name index listing all persons mentioned along with their dates of birth and death. Rounding out this essential volume for the film buff are over 500 still photos from the author's private collection.
In the 1950s, television pushed filmmakers toward such processes as CinemaScope and the increasing use of color. Serials and B Westerns, two staples since the silent era, were no longer money-makers and vanished, while the new breed of producers began to challenge the censorship code, bringing an ever-increasing amount of more explicit movies to theaters. From Aaron Slick from Punkin Crick (Paramount, 1952) to Zombies of Mora Tau (Columbia, 1957), this comprehensive work provides full filmographic data on 3,078 American films of the 1950s. Each entry includes full cast and credits, songs, running time, alternate titles and availability on video. The entries conclude with a brief plot description. An appendix lists the award winning films from the decade.
With this book a reader who wishes to know who the stars ofIt! The Terror from Beyond Spacewere and if they are still living, or if a member of the cast of "The Trouble with Tribbles" episode ofStar Trekever appeared in a science fiction film, or what the name of theTwilight Zoneepisode starring Robert Redford was, will be able to locate the information with ease. These volumes cover science fiction, horror and fantasy films and television from the late 1800s through the end of 1999. Volume 1 has all the credits. The first part is an alphabetical listing of actors and actresses who have made a significant contribution to horror, science fiction and fantasy films. Each listing includes the individual's date of birth when known and date of death when applicable. The second part contains credits for directors, producers, screenwriters, make-up artists, cinematographers, special effects technicians, and numerous others. Volume 2 is a filmography. It lists films with date, country of origin (other than the United States), alternate titles, production credits, and a complete-as-possible cast listing. The films are listed in alphabetical order, usually under the United States release title. Films made for theaters, television, cable or video tape can be found in this section. Volume 3 is the listing of television programs. All television series and episodes of a science fiction, horror or fantasy nature are included. The series listing generally includes the regular cast, individual episode title, original air date, and guest cast, director and writer credits. This work is a unification, revision, correction, expansion and update of the original 1983 two-volume set and its 1989 and 1994 one-volume supplements. This film book is published as a set of three volumes. Replacement volumes can be obtained individually under ISBN 0-7864-0950-9 (for Volume 1), ISBN 0-7864-0951-7 (for Volume 2) and ISBN 0-7864-0952-5 (for Volume 3).