A Companion to Motion Pictures and Public Value. Группа авторов

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New York: Center for Digital Research and Scholarship, Columbia University.

      17 Haugeland, John. 1998. “Mind Embodied and Embedded.” In Having Thought: Essays in the Metaphysics of Mind, edited by John Haugeland, 207–237. Cambridge, MA: Harvard University Press.

      18 Hutchins, Edwin. 1995. Cognition in the Wild. Cambridge, MA and London, England: MIT Press.

      19 . 2010. “Cognitive Ecology.” Topics in Cognitive Science 2 (4): 705–715. https://doi.org/10.1111/j.1756-8765.2010.01089.x.

      20 Kaganovsky, Lilya. 2018. “Film Editing as Women’s Work: Ėsfir’ Shub, Elizaveta Svilova, and the Culture of Soviet Montage.” Apparatus Film, Media and Digital Cultures of Central and Eastern Europe 6: 1–20. https://doi.org/10.17892/app.2018.0006.114.

      21 Kerrigan, Susan, and Phillip McIntyre. 2019. “Creative Filmmaking Processes, Procedures and Practices: Embodied and Internalized Filmmaking Agency.” In The Palgrave Handbook of Screen Production, edited by Craig Batty, Marsha Berry, Kath Dooley, Bettina Frankham, and Susan Kerrigan, 3–17. Cham: Palgrave MacMillan. https://doi.org/10.1007/978-3-030-21744-0_1.

      22 Lauzen, Martha M. 2019. “The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 100, 250, and 500 Films of 2019.” https://womenintvfilm.sdsu.edu/the-celluloid-ceiling-behind-the-scenes-employment-of-women-on-the-top-100-250-and-500-films-of-2019.

      23 Livingston, Paisley. 2011. “On Authorship and Collaboration.” The Journal of Aesthetics and Art Criticism 69 (2): 221–225. https://doi.org/10.1111/j.1540-6245.2011.01463.x.

      24 Malinin, Laura H. 2019. “How Radical Is Embodied Creativity? Implications of 4E Approaches for Creativity Research and Teaching.” Frontiers in Psychology 10: 1–12. https://doi.org/10.3389/fpsyg.2019.02372.

      25 Meskin, Aaron. 2008. “Authorship.” In The Routledge Companion to Philosophy and Film, edited by Paisley Livingston and Carl Plantinga. London: Routledge. https://doi.org/10.4324/9780203879320.ch2.

      26 Meuel, David. 2016. Women Film Editors: Unseen Artists of American Cinema. Jefferson, NC: McFarland, Incorporated, Publishers.

      27 Mulvey, Laura. 2015. “Women Making History: Gleaning and the Compilation Film.” In Where Is History Today?: New Ways of Representing the Past, edited by Marcel Arbeit and Ian Christie, 27–38. Olomouc: Palacký University Olomouc.

      28 Newen, Albert, Leon De Bruin, and Shaun Gallagher, eds. 2018. The Oxford Handbook of 4E Cognition. Oxford: Oxford University Press.

      29 Oldham, Gabriella. 1992. First Cut: Conversations with Film Editors. Los Angeles, CA: University of California Press.

      30 . 2012. First Cut: More Conversations with Film Editors. Los Angeles, CA: University of California Press.

      31 Pearlman, Karen. 2016. Cutting Rhythms: Intuitive Film Editing. Burlington, MA: Focal Press.

      32 . 2017. “Editing and Cognition Beyond Continuity.” Projections: Journal of Movies and Mind 11 (2): 67–86. https://doi.org/10.3167/proj.2017.110205.

      33 . Pearlman, Karen and Jane Gaines 2019. “After the Facts.” [In]transition: Journal of Videographic Film & Moving Image Studies 6 (4). http://mediacommons.org/intransition/after-facts.

      34 ., and Adelheid Heftberger. 2018. “Editorial: Recognising Women’s Work as Creative Work.” Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe (6). http://dx.doi.org/10.17892/app.2018.0006.124.

      35 ., John MacKay, and John Sutton. 2018. “Creative Editing: Svilova and Vertov’s Distributed Cognition.” Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe (6). http://dx.doi.org/10.17892/app.2018.0006.122.

      36 Petric, Vlada. 1978. “Esther Shub: Cinema Is My Life.” Quarterly Review of Film Studies 3 (4): 429–448. https://doi.org/10.1080/10509207809391417.

      37 Polan, Dana. 2001. “Auteur Desire.” Screening the Past 12: 1–9. http://www.screeningthepast.com/2014/12/auteur-desire.

      38 Preston, Beth. 2013. A Philosophy of Material Culture: Action, Function, and Mind. London: Routledge.

      39 Rietveld, Erik, and Julian Kiverstein. 2014. “A Rich Landscape of Affordances.” Ecological Psychology 26 (4): 325–352. https://doi.org/10.1080/10407413.2014.958035.

      40 Sawyer, Keith R., and Stacy DeZutter. 2009. “Distributed Creativity: How Collective Creations Emerge from Collaboration.” Psychology of Aesthetics, Creativity, and the Arts 3 (2): 81–92. https://doi.org/10.1037/a0013282.

      41 Smith, Tim J. 2012. “The Attentional Theory of Cinematic Continuity.” Projections: The Journal for Movies and Mind 6 (1): 1–27. https://doi.org/10.3167/proj.2012.060102.

      42 Stollery, Martin. 2002. “Eisenstein, Shub and The Gender of the Author as Producer.” Film History 14 (1): 87–99. https://www.jstor.org/stable/3815583.

      43 Sutton, John. 2009. “The Feel of the World’: Exograms, Habits, and the Confusion of Types of Memory.” In Memento, edited by Andrew Kania, 65–86. New York: Routledge.

      44 . 2010. “Exograms and Interdisciplinarity: History, the Extended Mind, and the Civilizing Process.” In The Extended Mind, edited by Richard Menary, 189–225. Cambridge, MA: MIT Press.

      45 . 2015. “Scaffolding Memory: Themes, Taxonomies, Puzzles.” In Contextualizing Human Memory: An Interdisciplinary Approach to Understanding How Individuals and Groups Remember the Past, edited by Charles Stone and Lucas Bietti, 187–205. New York: Routledge.

      46 ., and Evelyn Tribble. 2014. “‘The Creation of Space’: Narrative strategies, group agency, and skill in Lloyd Jones’s The Book of Fame.” In Mindful Aesthetics: Literature and the Sciences of Mind, edited by Chris Danta and Helen Groth, 141–60. Bloomsbury: Continuum.

      47 Theiner, Georg, and Chris Drain. 2016. “What’s the Matter with Cognition? A ‘Vygotskian’ Perspective on Material Engagement Theory.” Phenomenology and the Cognitive Sciences 16: 837–62. https://doi.org/10.1007/s11097-016-9482-y.

      48 Torrance, Steve, and Frank Schumann.

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