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The Kuleshov Fallacy

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The face has long been regarded as one of the major weapons in the arsenal of cinema—as a tool of characterization, a source of visual fascination, and not least, as a vehicle of emotional expression. Research on emotion from psychology and other disciplines offers a rich resource illuminating the world of expressive behavior on which filmmakers draw, and shape to their own artistic ends, as I discuss in an earlier blog here. But there is an influential idea in the history of film—part of the lore of film theory, exerting considerable influence among filmmakers—which holds that facial expression is at most of secondary importance in the way that films generate meaning and emotional impact. That idea is the “Kuleshov effect,” named after Lev Kuleshov, one of the heroic generation of Soviet filmmakers who put Soviet cinema at the forefront of the new medium in the 1920s. This vanguard introduced numerous innovations and inaugurated (alongside filmmakers and critics elsewhere in Europe). . .

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News source: OUPblog » Philosophy

Walter Chatton

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[Revised entry by Rondo Keele and Jenny Pelletier on June 22, 2018. Changes to: Main text, Bibliography] Walter Chatton or more rarely "Catton" (c. 1290 - 1343) was an English theologian and philosopher who trained at Oxford around the same time as his famous colleague and frequent philosophical target, William of Ockham. More inclined to speculative metaphysics and less skeptical of reason than Ockham, Chatton was one of the most energetic and gifted critics of the influential brand of nominalism which arose in early fourteenth-century England around Ockham. As a constructive...

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News source: Stanford Encyclopedia of Philosophy


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[Revised entry by Sungho Choi and Michael Fara on June 22, 2018. Changes to: Main text, Bibliography, supplement.html] A glass has certain dispositions, for example the disposition to shatter when struck. But what is this disposition? It seems on the one hand to be a perfectly real property, a genuine respect of similarity common to glasses, china cups, and anything else fragile. Yet on the other hand, the glass's disposition seems mysterious, 'ethereal' (as Goodman (1954) put it) in a way that, say, its size and shape are not. For its disposition, it seems, has to do only with its possibly shattering in...

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News source: Stanford Encyclopedia of Philosophy


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[Revised entry by Graham Priest, Francesco Berto, and Zach Weber on June 22, 2018. Changes to: Main text, Bibliography] A dialetheia is a sentence, (A), such that both it and its negation, (neg A), are true. If falsity is assumed to be the truth of negation, a dialetheia is a sentence which is both true and false. Such a sentence is, or has, what is called a truth value glut, in distinction to a gap, a sentence that is neither true nor false. (We shall talk of sentences throughout this entry; but one could run the definition in terms of propositions, statements, or whatever one takes as one's favourite truth-bearer: this would make little difference in the context.)...

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News source: Stanford Encyclopedia of Philosophy

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