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Fotó és film - Válogatott bibliográfia


 

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Allen, Richard: Looking at Motion Pictures. In: Allen, Richard C. (ed.): Film Theory And Philosophy. Oxford: Clarendon Press, 1997.

Arnheim, Rudolf: The Two Authenticities of the Photographic Media. Journal of Aesthetics and Art Criticism 51 (Fall 1993) no. 4. pp. 537–540.

Arnheim, Rudolf: Melancholy Unshaped. Journal of Aesthetics and Art Criticism (Spring 1963) no. 21. pp. 291–298.

Bán András – Beke László (szerk.): Fotóelméleti szöveggyűjtemény. Budapest: Enciklopédia, 1997.

Barrett, Terry: Photographs and Contexts. Journal of Aesthetic Education (Fall 1985) no. 19. pp. 51–64.

Barthes, Roland: Világoskamra. (ford. Ferch Magda) Budapest: Európa Könyvkiadó, 1985.

Bazin, André: Színház és film. (ford. Baróti Dezső) In: Bazin, André: Mi a film? Budapest: Osiris Kiadó, 1995.  pp. 101–145.

Bazin, André: A fénykép ontológiája. (ford. Baróti Dezső) Bazin, André: Mi a film? Budapest: Osiris Kiadó, 1995. pp. 16–23.

Beloff, Halla: The Eye and the Me. Self-Portraits of Eminent Photographers. Philosophical Psychology. (1988) no. 1. pp. 295–311.

Benjamin, W.: Peinture et Photographie. Cahiers Du Musee National D’art Moderne 1 (July–Sept. 1979) no. 1. pp. 40–45.

Billeter, E.: Malerei und Photographie. Begegnung zweier Medien. Du no. 10. (1980) pp. 28–65.

Blocker, H. Gene: Pictures And Photographs. Journal of Aesthetics and Art Criticism (Winter 1977) no. 36. pp. 155–162.

Bourdeau, Jean-Philippe: Distances. Dialectique de matériau et d’étheréité à même l’image photographique. Horizons philosophiques 11 (Fall 2000) no. 1. pp. 53–64.

Brook, Donald: On the Alleged Transparency of Photographs. British Journal of Aesthetics (Summer 1986) no. 26. pp. 277–282.

Brook, Donald: Painting, Photography, and Representation. Journal of Aesthetics and Art Criticism (Winter 1983) no. 42. pp. 171–180.

Brubaker, David: André Bazin on Automatically Made Images. Journal of Aesthetics and Art Criticism 51 (Winter 1993) no. 1. pp. 59–67.

Carroll, Noël: Concerning Uniqueness Claims for Photographic and Cinematographic Representation. Dialectics and Humanism (Spring 1987) no. 14. pp. 29–43. Újranyomva: In: Carroll, Noël: Theorizing the Moving Image, 3. fejezet. Cambridge: Cambridge University Press, 1996. pp. 37–48. [Magyarul ld. Carroll, Noël: A fényképészeti és filmművészeti ábrázolásnak tulajdonított egyediségről. (ford. Simon Vanda) //Metropolis// 7 (2003 no. 1. pp. 32–42.]

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Cavell, Stanley: The World Viewed. Reflections on the Ontology of Film. New York: Viking Press, 1971.

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Cohen, Ted: What’s Special about Photography? Monist. (April 1988) no. 71. pp. 292–305.

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Currie, Gregory: Photography, Painting and Perception. Journal of Aesthetics and Art Criticism 49 (Winter 1991) no. 1. pp. 23–29.

Currie, Gregory: Visible Traces. Documentary and the Contents of Photographs. Journal of Aesthetics and Art Criticism 57 (Summer 1999) no. 3. pp. 285–297.

Currie, Gregory: Visual Fictions. Philosophical Quarterly (April 1991) pp. 129–143.

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Durgnat, Raymond: Fake, Fiddle and the Photographic Arts. British Journal of Aesthetics (July 1965) no. 5. pp. 270–288.

Duval, Roch: Instructions pour lire des photos de philosophes. Wittgenstein et la photographie. Horizons philosophiques 11 (Fall 2000) no. 1. pp. 35–52.

Ehrlich, R.: Photography vs Painting. Art and Artists 13 (July 1978) no. 3. pp. 20–25.

Evans, Donald: Photographs and Primitive Signs. Proceedings of the Aristotelian Society (1978) no. 79. pp. 213–238.

Flusser, V.: Fur eine Philosophie der Fotografie. Gottingen, 1983.

Friday, Jonathan: Aesthetics and Photography. Aldershot, England: Ashgate, 2002.

Friday, Jonathan: Demonic Curiosity and the Aesthetics of Documentary Photography. British Journal of Aesthetics 40 (July 2000) no. 3. pp. 356–375.

Friday, Jonathan: Looking at Nature through Photographs. Journal of Aesthetic Education 33 (Spring 1999) no. 1. pp. 25–35.

Friday, Jonathan: Transparency and the Photographic Image. British Journal of Aesthetics 36 (Jan. 1996) no. 1. pp. 30–42.

Friday, Jonathan: Photography and the Representation of Vision. Journal of Aesthetics and Art Criticism 59 (Fall 2001) no. 4. pp. 351–362.

Frizot, Michel: La Photographie: Hors-champ de la peinture. Artstudio (Summer 1990) no. 17. pp. 101–115.

Gaut, Berys: Cinematic Art. Journal of Aesthetics and Art Criticism 60 (Fall 2002) no. 4. pp. 299–312.

Gilson, Etienne: Photography and Beauty. Diogenes (Fall 1966) no. 55. pp. 28–47.

Gunning, Tom: In Your Face. Physiognomy, Photography, and the Gnostic Mission of Early Film. Modernism/Modernity 4 (Jan. 1997) no. 1. pp. 1–29.

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Hester, Marcus-B: Are Paintings and Photographs Inherently Interpretative? Journal of Aesthetics and Art Criticism (Winter 1972) no. 31. pp. 235–246.

Hrachovec, Herbert: Fotogene Enttauschungen. Deutsche Zeitschrift Fur Philosophie 43 (1995) no. 3. pp. 455–463.

Hubscher, Arthur: Schopenhauers Umgang Mit Photographen.  Schopenhauer-Jahrbuch (1983) no. 64. pp. 148–153.

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Jimenez-Moreno, Carlos: La Fotografia y la Muerte del Arte. Estudios de Filosofia (Fall 1996) no. 13. pp.  43–55.

Jones, K: The Metaphysics of the Photograph. British Journal of Aesthetics (Autumn 1985) no. 25. pp.  372–379.

Keim, Jean-A.: Photography and Reality. Diogenes (Summer 1965) no. 50. pp. 57–72.

King, William-L.: Scruton and Reasons for Looking at Photographs. British Journal of Aesthetics 32 (July 1992) no. 3. pp. 258–265.

Koch, Gertrud: Nachstellungen – Film und historischer moment. Deutsche Zeitschrift fur Philosophie 43 (1995) no. 3. pp. 497–506.

Koch, Gertrud: Schwerpunkt. Philosophie und Film – Ein hundertjahriges Verhaltnis. Deutsche Zeitschrift fur Philosophie 43 (1995) no. 3. pp. 453–454.

Kracauer, Siegfried: Photography. Critical Inquiry 19 (Spring 1993) no. 3. pp. 421–436.

Krauss, Rosalind E.: Le Photographique. Pour une théorie des écarts. Paris: Macula. 1990.

Krauss, Rosalind-E.: Reinventing the Medium. Critical Inquiry 25 (Winter 1999) no. 2. pp. 289–305.

Lackey, Douglas-P.: Reflections on Cavell’s Ontology of Film. Journal of Aesthetics and Art Criticism (Winter 1973) no. 32. pp. 271–273.

Lauzon, Jean: La photographie, fille de l’alchimie. Horizons Philosophiques 11 (Fall 2000) no. 1. pp. 25–34.

Lauzon, Jean: Sujet(S) à Interpretation(S): Sur la relative transparence d’une photographie positiviste. Horizons philosophiques 7 (Spring 1997) no. 2. pp. 127–139.

Lastra, James: From the Captured Moment to the Cinematic Image. A Transformation in Pictorial Order. In: Andrew, Dudley (ed.): The Image in Dispute. Painting and Cinema in the Age of Photography. Austin: University of Texas Press, 1995. pp. 263–291. [Magyarul ld. Lastra, James: A megragadott pillanattól a filmképig (ford. Kádár Zoltán) //Metropolis 7// (2003 no. 1. pp. 52–70.]

Le Poidevin, Robin: Time and the Static Image. Philosophy 72 (April 1997) no. 280. pp. 175–188.

Litch, Mary-M.: Philosophy Through Film. London–New York: Routledge, 2002.

Lopes, Dominic: The Aesthetics of Photographic Transparency. Mind (2003) no. 112. pp. 433–448.

Margolis, Joseph: Mechanical Reproduction and Cinematic Humanism. Film and Philosophy (2002) nos. 5–6. pp. 114–130.

Maynard, Patrick: Photography. In: Gaut, Berys (ed.): The Routledge Companion to Aesthetics. New York: Routledge, 2001.

Maynard, Patrick: The Secular Icon. Photography and the Functions of Images. Journal of Aesthetics and Art Criticism (Winter 1983) no. 42. pp. 155–170.

Maynard, Patrick: Talbot’s Technologies: Photographic Depiction, Detection, and Reproduction. Journal of Aesthetics and Art Criticism (Summer 1989) no. 47. pp. 263–276.

Munier, Roger: The Fascinating Image. Diogenes (Summer 1962) no. 38. pp. 85–94.

Munoz-Hincapie, Jaime-A.: Reflexiones sobre la estetica fotografica. La representacion en fotografia. Estudios de filosofia (Aug. 1995) no. 12. pp. 177–186.

Navab, Aphrodite-Desiree: Re-Picturing Photography: A Language in the Making. Journal of Aesthetic Education 35 (Spring 2001) no. 1. pp. 69–84.

Nishimura, Kiyokazu: Photography as Narrative. Aesthetics (March 2000) no. 9. pp. 1–10.

Palmer, Frederick: Painting and Photography: A Love-Hate Affair. Artist 103 (April 1988) no. 4. pp. 21–23.

Pethő, Bertalan: A fotó és a film ontológiai genezise. Magyar Filozófiai Szemle (1991) pp. 129–175.

Ross, Stephanie: What Photographs Can’t Do. Journal of Aesthetics and Art Criticism (Fall 1982) no. 41. pp. 5–17.

Scruton, R.: Photography and Representation. In: Scruton, R.: Aesthetic Understanding. London: Meuthen.

Savedoff, Barbara: Looking at Art through Photographs. Journal of Aesthetics and Art Criticism 51 (Summer 1993) no. 3. pp. 455–462. 

Savedoff, Barbara: Transforming Images. Photographs of Representations. Journal of Aesthetics and Art Criticism 50 (Spring 1992) no. 2. pp. 93–106.

Savedoff, Barbara: Escaping Reality. Digital Imagery and the Resources of Photography. Journal of Aesthetics and Art Criticism 55 (Spring 1997) no. 2. pp. 201–214.

Savedoff, Barbara: Frames. Journal of Aesthetics and Art Criticism 57 (Summer 1999) no. 3. pp. 345–356.

Savedoff, Barbara: Transforming Images. How Photography Complicates the Picture. Journal of Aesthetics and Art Criticism 59 (Fall 2001) no. 4. pp. 427–428.

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Seel, Martin: Fotografien sind wie Namen. Deutsche Zeitschrift fur Philosophie 43 (1995) no. 3. pp. 465–478.

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Singer, Irving: Santayana and the Ontology of the Photographic Image. Journal of Aesthetics and Art Criticism 36 (Fall 1977) no. 36. pp. 39–43.

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Todd, Jennifer: The Roots of Pictorial Reference. Journal of Aesthetics and Art Criticism 39  (Fall 1980) no. 39. pp. 47–58.

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Walton, Kendall L.: Transparent Pictures. On the Nature of Photographic Realism. Critical Inquiry 11 no. 2. pp. 246–277. [Magyarul ld. Walton, Kendall-L.: Transzparens képek. A fotografikus realizmus természetéről (ford. Tóth Tamás) //Metropolis 7// (2003 no. 1. pp. 10–30.]

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Warburton, Nigel: Photographic Communication. British Journal of Aesthetics 28 (Spring 1988) pp. 173–181.

Warburton, Nigel: Seeing through ‘Seeing through Photographs’. Ratio (June 1988) no. 1. pp. 64–74.

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Williams, Quentin: Projected Actuality. British Journal of Aesthetics 35 (July 1995) no. 3. pp. 273–277.

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