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News Next Text: Notes on Filmosophy: A Reply to Reviews, New Review of Film and Television Studies, forthcoming December 2008. Film and Philosophy conference, Ljubljana, Slovenia, 20-22 November 2008. Emergent Encounters with Film Theory, King's College London conference on philosophical and psychoanalytical perspectives on film, March 2009 [info here] Filmosophy put forward by Columbia UP for the Society for Cinema and Media Studies Katherine Singer Kovacs Book Award 2008 Filmosophy selected as a Choice Outstanding Academic Title 2007 Latest reviews: 'Daniel Frampton’s work Filmosophy can be considered one of the most recent analyses of Gilles Deleuze’s theories on cinema, especially in its relationship to philosophy. But Frampton’s book is more than that. It goes beyond the French philosopher in its argument that film, analogous to philosophy can be regarded not simply as an art form but as thinking itself, a system of thoughts, ideas and memories. . . . Frampton suggests that what we see is not only an image or character, but also the film’s own ‘belief’ in and about this image or character. By disclosing this filmic belief, Frampton’s concept of filmosophy tries to regenerate the connection between the audience and the film, subsequently reconnecting us with the real world. . . . Frampton’s work offers an interesting new approach in discussing cinema in a wider context. It not only provides an excellent overview of philosophical film theories, but offers a perspective for looking at the relevance of cinema for our life and thinking beyond mere escapism.' --- Sylvie Magerstädt, Review of Filmosophy, Westminster Papers in Communication and Culture, vol. 5 no. 3, September 2008. 'Filmosophy is bursting with energy and revolutionary zeal. But it is also more tempered than one might expect. If it has an edge of dogmatism, it is slightly ironic. Its refutations of other approaches are more scholarly than vitriolic. And while its assertions are often righteous, they are coupled with a palpable and inspiring belief in the possibilities of film, thinking about film, and thinking through film, that promises to revitalise original and innovative film investigation.' --- Lisa Trahair, 'Film Theory', The Year's Work in Critical and Cultural Theory, 2008. 'Immensely rewarding and stimulating. The spirit of the book is one which reminds me of the great soothsayers of modern painting – Apollinaire, Kandinsky, Kokoschka, Marinetti, Malevich and others – and it is little wonder that Frampton relies on many writers of the 1920s who pulsated with the future promise of cinema: Dulac, Epstein, Eisenstein, Balazs. There is indeed a future promise in Filmosophy: that the future of cinema is alive and well, and some of us are awaiting its thoughts with excited anticipation.' --- Richard Rushton, Review of Filmosophy, Screen, vol. 49 no. 2, Summer 2008. 'Daniel Frampton’s remarkable Filmosophy is a book that squarely confronts the question: how should we speak about film? What kind of philosophical writing does justice to the experience of cinema? Frampton cuts through the Gordian knot of contemporary film debates concerning 'subjective' versus 'objective' forms of the image, authorial intention, auteurism, apparatus theory, narratology, cognitive problem-solving, and so on. One should salute Frampton’s achievement: Filmosophy elaborates a strikingly original conceptualization of film experience which also synthesizes much of the history of philosophical reflection on the cinema.' --- Robert Sinnerbrink (Macquarie University), Review of Filmosophy, Projections: The Journal for Movies and Mind, vol. 1 no. 2, 2008. 'A passionate and earnest ‘call-to-arms’ regarding the state of film studies, Daniel Frampton’s Filmosophy (2006) is a highly ambitious book. . . . Frampton’s work argues that film is a radically unique art form, which is able to ‘think’ its own world. Part of Frampton’s project is to propose a new vocabulary with which we can apprehend cinema: one which will allow us to talk about, write about, and experience the world of film in a way that cognitivist discourse has previously stifled. . . . Frampton’s thought-provoking book is refreshing in its attempts to re-conceptualise the way in which we consider the visual image, and is passionate in its belief that cinema and visual culture has been poorly used. . . . Frampton argues that our understanding of our relationship to the image is woefully incomplete, and that we should see film as formulating its own philosophy: we should see film as a kind of future thinking.' --- Alexia Bowler, Review of Filmosophy, New Cinemas, vol. 6 no. 1, 2008. * Filmosophy is a provocative manifesto for a radically philosophical way of understanding cinema. The book coalesces twentieth-century ideas of film as thought (from Münsterberg to Deleuze) into a practical theory of 'film-thinking', arguing that film style conveys poetic ideas through a constant dramatic 'intent' about the characters, spaces, and events of film. With discussions of contemporary filmmakers such as Béla Tarr, Michael Haneke, and the Dardennes, this bold intervention into the study of film and philosophy will stir argument and discussion among both filmgoers and filmmakers alike. --- London: Wallflower Press, 2006 | ISBN 1-904764-84-3 (pbk) £15.00 | 1-904764-85-1 (hbk) £45.00 | 256 pp. Info: Book Contents, Introduction, Wallflower Press, Columbia University Press, Review Copies Reviews Cherwell, Choice, Communication Booknotes Quarterly, Contemporary Magazine, Ekran, Empire, De Filmkrant, Forum for Modern Language Studies, Frieze, Illuminace, Projections, Scope, Screen, Senses of Cinema, Sight & Sound, Vertigo. Comments Ian Christie, Tom Conley, Colin Davis, Harmony Korine, Colin McGinn, Adrian Martin, Martha P. Nochimson, Geoffrey Nowell-Smith, D. N. Rodowick, Dan Shaw, Vivian Sobchack, Emma Wilson, George M. Wilson Translations Mohammad Shahbâ's Persian translation of an early version of the Introduction (2001) * Club Filmosophy 28 April 2008, Claire Denis's The Intruder, Roxy, London (in association with Tartan Video) – with guest speaker Laura McMahon (Cambridge University) 27 March 2008: Haneke's Hidden, BFI Southbank, London 26 Feb 2008: Medem's The Red Squirrel, Roxy, London – with guest speaker Jo Evans (University College London) 26 Nov 2007: Haneke's 71 Fragments of a Chrology of Chance, Roxy, London – with guest speaker David Sorfa (Liverpool John Moores University) 11 October 2007: Apichatpong's Syndromes and a Century, BFI Southbank, London 10 Sept 2007: von Trier's Europa, Roxy, London 21 June 2007: Lynch's Inland Empire, BFI Southbank, London Talks 6 July 2008: Roundtable discussion, Film/Philosophy conference, Bristol 26 June 2008: BFI Education Media Studies Conference, London 6 May 2008: Talk/Interview, St Anne's College, Oxford 2 Feb 2008: Talk & Seminar, Univeriteit van Amsterdam, Netherlands 10 Sept 2007: Introduction to Filmosophy, Roxy, London 15 Oct 2006: Conversation with Harmony Korine, Renoir, London (Press comment here) 28 Sept 2006: What is Filmosophy?, Panel discussion (Jonathan Romney, Geoffrey Nowell-Smith, Jonathan Ree) & Book launch, London Review Bookshop, London [Read a report on the evening here] 2001: Filmosophy: An Introduction, Wadham College, Oxford Texts Forthcoming – Filmosophy Book Launch Discussion at the London Review Bookshop Forthcoming – Filmosophical Cinema: On Lynch's Inland Empire Forthcoming – Notes on Filmosophy: A Reply to Reviews, New Review of Film and Television Studies, forthcoming 2008. I am a Camera [on Harmony Korine], Tank Magazine, 2007. A Filmosophy of the Dardennes, Vertigo, vol. 3 no. 3, Autumn 2006. Moving Images, The Guardian, 23 October 2006 – republished in Discover... Mass Media (Schoningh Press, forthcoming 2009). Introduction, Filmosophy (2006). The Way that Movements Speak, Film-Philosophy, vol. 5 no. 10, 2001. Filmosophy: Colour, in MacCabe & Petrie, eds, Working Papers from the BFI (London: BFI, 1996). Lars von Trier x 6 (1993). On Deleuze's Cinema (1991). * Links Contact Discuss Filmosophy at Film-Philosophy *
	Filmosophy® is a registered U.S. trademark owned by Valentin Stoilov (www.filmosophy.com) for educational services in the field of motion picture history, theory, and production. Mr. Stoilov is not the source or origin of this book and has not sponsored or endorsed it or its author.