Artykuły w czasopismach na temat „Ethical film”
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Skorin-Kapov, Jadranka, i Martin Benson. "Teaching Business Ethics Through Narrative Film". Journal of Business Ethics Education 15 (2018): 185–202. http://dx.doi.org/10.5840/jbee2018159.
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We address the question: what can experience of narrative film bring to a business student? The medium of narrative film allows discussions of ethical issues, as well as discussions of film as a product in terms of its artistic creativity versus its business goal and its marketing of an underlying ideological position. Hence, we look at films from philosophical (ethical), aesthetic (artistic), and business perspectives. We describe the effort and the outcome of delivering a new course in the business undergraduate program at the College of Business at Stony Brook University in New York, USA. The course was entitled Ethics: Critical Thinking through Film and it was designed to address various business and societal problems through narrative films. A diverse set of films allowed us to discuss questions about problems facing contemporary society, as well as ethical issues arising in business, including workforce ethics, greediness, bribery, whistle-blowing, and fraud.
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Martin, Philip. "Cinema's Vital Histories: Wabi-Cinema, Forces and the Aesthetics of Resistance". Film-Philosophy 21, nr 3 (październik 2017): 349–70. http://dx.doi.org/10.3366/film.2017.0055.
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Many films, both narrative and documentary, explore the relationship between history and politics or ethics. This may be accomplished when fictional narrative films enact ethical arguments regarding history in cinematic form, when documentary films explicitly seek to uncover lost histories of political oppression, or films may experientially and aesthetically stage ethical experience with respect to historical meanings and contexts. There are some cases where such ethical-historical experience is explored through the specific aesthetic form of the film in relation to its narrative. Ask This of Rikyū (Rikyū ni tazuneyo, Tanaka Mitsutoshi, 2013) is one such example. In this paper, I will suggest that film can explore the relation of aesthetic experience to the ethico-political character of history, opening up ways of responding aesthetically to concrete political conditions. Ask This of Rikyū accomplishes this by interrogating the possibility of a wabi-cinema, established with respect to its title character, his individual aesthetic practices, and his personal political circumstances. I will draw upon the work of Gilles Deleuze alongside Kyōto School philosopher Nishida Kitarō in order to articulate the way in which Ask This of Rikyū explores the relation of artistic activity and aesthetic experience to the general ethical and political forces that feed into history.
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Shaw, Dan. "Robert Sinnerbrink (2016) Cinematic Ethics: Exploring Ethical Experience Through Film". Film-Philosophy 21, nr 2 (czerwiec 2017): 245–48. http://dx.doi.org/10.3366/film.2017.0046.
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Freeland, Cynthia. "Ethical Engagement with Movies". Projections 13, nr 3 (1.12.2019): 105–11. http://dx.doi.org/10.3167/proj.2019.130308.
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In Screen Stories, Carl Plantinga concedes that films have considerable power to manipulate our emotions, attitudes, and even action tendencies. Still, he believes that film viewers do consciously engage in various types of cognition and judgment, and thus he argues that they can resist films’ manipulations. The “engaged critic” he calls for can assist in assessing how films create and convey their moral messages. I raise some questions about the account Plantinga gives of how both character engagement and narrative structures contribute to filmic manipulation. First, I note that there is an unresolved active/passive tension in his picture of film viewers. Second, I suggest that his treatment of narrative paradigm scenarios does not offer a strong enough account of the specifically filmic aspects of screen stories and how they differ from literary stories. And finally, I raise some questions about his ideal of the ethically engaged film critic and the social role to be played by such a critic.
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Aaron, Michele. "Love's Revival: Film Practice and the Art of Dying". Film-Philosophy 24, nr 2 (czerwiec 2020): 83–103. http://dx.doi.org/10.3366/film.2020.0133.
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Dying serves so often within the narratives of Western popular culture, as an exercise in self-improvement both to the individual dying and to those looking on. It enlightens, ennobles and renders exceptional all those affected by it. Though mainstream cinema's “grammar of dying” is mired in similar myths, film has the potential to do dying differently: it can, instead, connect us, ethically, to the vulnerability of others. The aim of this article is to pursue this potential of film. Using the mainstream grammar of dying as a starting point, I will consider how the moving image, and this ethical potential, is harnessed within two hybrid-media pieces about a loved-one's decline and death: George Saxon's art installation, “A Record of Undying” (2014) and photographer Briony Campbell's short film The Dad Project (2009). While these works will be located within the traditions and transformations of moving image practice, the primary concern here is with how such emotionally resonant pieces navigate our relation to, and responsibility for, our own and others' harsh realities. In this way, the question of ethics is grounded not in the solipsistic circuits of affective modes – whether as the catharsis or betterment of mainstream myths, or what Jane Stadler privileges as the ethical effects of empathy – but in something more inherently, more inevitably, political.
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Wheatley, Catherine. "The Third City: The Post Secular Space of the Dardenne Brothers' Seraing". Film-Philosophy 23, nr 3 (październik 2019): 264–81. http://dx.doi.org/10.3366/film.2019.0116.
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Set principally in or around Seraing, an industrial region in decline just outside of Liège, in Belgium, the films of Jean-Luc and Pierre Dardenne marry geographical and historical-social realism with a series of ethical inquiries into such topics as immigration, unemployment, black market trading and petty crime. To date, critical commentary on the films has tended mainly to read the work of the Dardennes along two lines. The dominant approach uses the work of Emmanuel Levinas as a philosophical touchpoint in order to illuminate the ethical dimension of the Dardenne brothers' films. The second considers the political dimensions of their films. However a third, related body of writing has emerged in later years, one which understands in terms of their relation to what Jürgen Habermas (2006) , amongst others, has dubbed the postsecular age. This article locates the Dardennes' films at the intersection between the ethical, the political, and the postsecular, looking to the theologically-inflected philosophy of Gillian Rose to make the case that Seraing serves as the model of what Rose refers to as “the third city” – a postsecular site which challenges easy divisions between politics and ethics. As such Seraing is not, I shall argue, a mere staging post for the moral, political and spiritual problems posed by the films, but its cradle. Paying particular attention to the Dardennes' film Two Days, One Night (Deux Jours, Une Nuit, 2014) I demonstrate what an engagement that turns on existence with and within the city – an engagement that is both political and ethical – might look like.
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Gonzalez, Carlos B., i Agustin F. Zarzosa. "The Film Philadelphia As A Case Study Of Ethical Dilemmas In The Workplace". Journal of Business Case Studies (JBCS) 4, nr 7 (1.07.2011): 41. http://dx.doi.org/10.19030/jbcs.v4i7.4794.
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In this paper we present the film Philadelphia as an exemplary text for teaching business ethics. For this purpose, we show students three scenes from the film and guide them as they engage in ethical reasoning. Through the exercise, students should: understand the nature of ethical dilemmas; understand a model for ethical decision-making and apply it to shed light on selected situations presented in the film; and lastly, understand ethical dimensions of discrimination. After engaging with the exercise, students should also develop a clear understanding of the difficulty of reaching ethical decisions in their professional careers. In addition, the exercise serves as an opportunity to discuss issues of HIV and AIDS in contemporary organizations.
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Jones, Andrew. "Asbjørn Grønstad (2016) Film and the Ethical Imagination". Film-Philosophy 23, nr 3 (październik 2019): 395–98. http://dx.doi.org/10.3366/film.2019.0123.
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Plaw, Avery. "Film as Ethical Argument". Film and Philosophy 11 (2007): 121–38. http://dx.doi.org/10.5840/filmphil2007119.
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Gerbaz, Alex. "Direct Address, Ethical Imagination and Errol Morris's Interrotron". Film-Philosophy 12, nr 2 (październik 2008): 17–29. http://dx.doi.org/10.3366/film.2008.0013.
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Xavier, Zachary. "The Kierkegaardian Existentialism of Richard Linklater's Before Trilogy". Film-Philosophy 25, nr 2 (czerwiec 2021): 110–29. http://dx.doi.org/10.3366/film.2021.0164.
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This article examines the Kierkegaardian existentialism set in motion by Richard Linklater's Before trilogy: Before Sunrise (1995), Before Sunset (2004), and Before Midnight (2013). In doing so, it asserts the efficacy of cinema as a medium of existential import, one that is particularly suited to give form to Søren Kierkegaard's project. The identification of three existential stages of life – the aesthetic, ethical, and religious – is perhaps Kierkegaard's most notable contribution to philosophy. This article contends that Linklater's aesthetic strategy – namely, his distinctive use of long dialogic takes and open endings – grapples with these existential categories: the aesthetic and ethical existence-spheres, as well as the border zone of irony that rests between them. By mapping the shifting utility of the long take and open endings throughout the trilogy, the article charts the differing existential states of the trilogy's enduring couple, Jesse and Céline, as well as the ensuing complications that arise from their clash. In particular, the Before trilogy demonstrates the difficulty of reconciling aesthetic desire and ethical responsibility. Focusing on this dilemma, the article goes on to discuss how the differing existential states of Jesse and Céline prevent a proper appropriation of the ethical requirement into their lives, and that this existential disparity is what eventually surfaces the dysfunction of their romantic union.
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Girgus, Sam B. "Beyond Ontology: Levinas and the Ethical Frame in Film". Film-Philosophy 11, nr 2 (czerwiec 2007): 88–107. http://dx.doi.org/10.3366/film.2007.0012.
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Aruan, Abel K. "Menalar Dilema Etis Dalam Film Silence". Indonesian Journal of Theology 6, nr 1 (12.10.2019): 83–104. http://dx.doi.org/10.46567/ijt.v6i1.19.
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Silence was a provocative film, particularly for Christians viewers. Aside from sketching stories of great interest concerning challenges endured by Jesuit missionaries to Japan, the film presents a deep ethical struggle one finds worthy of careful analysis. In the most climactic scene, the missionary Rodrigues faces an ethical dilemma. He must desecrate fumi-e, a bronze board depicting Christ Jesus, in an act of apostasy to save five tortured and dying hostages. Rodrigues must choose: apostasy or allowing people to die. In this article, the author attempts to reason through Rodrigues' ethical dilemma, without providing conclusive arguments in support of any ethical choices the author might prefer, to broaden the thinking of his readers. Following preliminary considerations for how to define the category of ethical dilemma, the author provides two key questions for evaluating solutions belonging to the moral agent. (α) Concerning competing moral demands, which one is highest in standing amid the rest? (β) Concerning available interventions by the moral agent, which action most effectively realizes the highest moral demand? These two lines of inquiry frame three proposed solutions. Finally, the author also proposes a fourth solution termed Kierkegaardian conflict, following the philosopher of ethics Phillip L. Quinn, whose own proposal, too, remains inconclusive for resolving the dilemma.
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Burke, Michael. "Haunted by the Other: Levinas, Derrida and the Persecutory Phantom". Film-Philosophy 25, nr 3 (październik 2021): 362–85. http://dx.doi.org/10.3366/film.2021.0180.
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In this article, I explore what I call the persecutory trope – which underscores the alterity of the phantom and its relentless haunting and spectral oppression of the protagonists – in recent American ghost films, connecting it to the ethical thought of the continental philosophers, Emmanuel Levinas and Jacques Derrida. Films like The Ring (Gore Verbinski, 2002), The Grudge (Takashi Shimizu, 2004), It Follows (Robert Mitchell, 2014), and Sinister (Scott Derrickson, 2012) depict terrifying spectral antagonists whose relentless persecution of the protagonists often defies comprehension and narrative closure. I suggest that these films comprise a specific supernatural subgenre due to the particular way in which their specters haunt the victims. The relentlessness of the spectral assailant, and the foreclosure of actions by which the specter is either expelled from or reintegrated into symbolic understanding of its victim, can be construed in terms of the ethical relationship between the other and the self in the work of Levinas and Derrida. Their focus on the moral agent's responsibility to an other, an obligation that the agent does not undertake voluntarily, entails the spectralization of ethical responsibility insofar as it does not rest on solid, evidential grounds. This article shows how the spectralization of the ethical resonates in recent American ghost films through the disruptive effects of the specter's haunting and responsive mourning enacted by protagonists.
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Bolton, Jonathan. "Mendacity, Rule Consequentialist Ethics and The Ploughman's Lunch". Film-Philosophy 26, nr 1 (luty 2022): 26–43. http://dx.doi.org/10.3366/film.2022.0188.
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This article examines Ian McEwan's script for director Richard Eyre's film, The Ploughman's Lunch (1983), the title of which alludes to a deceptive, post-World War II advertising campaign that promulgated a false narrative about British tradition. McEwan's script, and Eyre's film adaptation of it, offer a prescient exposé of Britain's culture of mendacity in the 1980s in ways that draw on rule-consequentialist ethics to maintain that lying on the personal, professional, and political level has a pernicious effect on society. McEwan's work on the film also marks a crucial turning point in the author's career, one in which he first begins to explore complex ethical and moral conundrums that would figure prominently in his major fiction.
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Sari, Padma Adriana, Kurnia Ekasari i Rosy Aprieza Puspita Zandra. "Penggunaan Media Film sebagai Sarana Pembelajaran Etika Akuntan: Implementasi pada Mata Kuliah Audit". Organum: Jurnal Saintifik Manajemen dan Akuntansi 3, nr 2 (22.11.2020): 82–93. http://dx.doi.org/10.35138/organum.v3i2.105.
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Teaching ethics to accounting students is a challenge for lecturers. Lack of knowledge on how to teach ethics and limited references to ethics teaching materials are examples of obstacles to teaching ethics. The film has been an exciting learning resource in accounting courses, which is a fun way to learn and full of value. This study is a preexperimental study to determine the effectiveness of using film media to convey ethical material to students majoring in Accounting, Politeknik Negeri Malang. The method used in this study is descriptive qualitative. Based on the results of this experiment, 32 students stated that there were moral values that were learned from watching films. In contrast, 17 people indicated that they had learned other things such as cases of economic crisis and the application of the material in class to real life. Based on these results, films could be used as an alternative to teaching ethics to accounting students. This study offered a reference for accounting lecturers the ways to use film in accounting classes and samples of discussion and assignments in using film as a teaching resource. The result of this study could be a reference in renewing the curriculum to insert film as a learning resource, also to consider other learning resources.
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Chowdhury, Elora Halim. "Ethical Reckoning". Meridians 20, nr 1 (1.04.2021): 151–73. http://dx.doi.org/10.1215/15366936-8913151.
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Abstract In this article the author builds on the idea of Bangladeshi national cinema as human rights cinema to explore its role in documenting and engendering understanding about women, vulnerability, and agency within a Muktijuddho gender ideology. Drawing from feminist sociologist Patricia Hill Collins’s conceptualization of a Black gender ideology, the author proposes that in cinematic traditions, an idealized Muktijuddho gender ideology influences and entrenches gendered social norms and reinforces perceptions of masculinity and femininity in war. These perceptions serve to justify patterns of legibility, recognition, and rejection for discursive practices of national inclusion and exclusion. Specifically, the author analyzes Nasiruddin Yousuff’s Guerrilla (2011), an award-winning film featuring the story of Bilqis Banu, a middle-class, Muslim female combatant who takes on at once the national struggle for self-determination and the gender struggle against patriarchal cultural norms. The film opens up new ways of imagining the category birangona and elicits a deeper appreciation of differentiated agency, vulnerability, and humanity.
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Tseng, Po-En, i Ya-Huei Wang. "Deontological or Utilitarian? An Eternal Ethical Dilemma in Outbreak". International Journal of Environmental Research and Public Health 18, nr 16 (13.08.2021): 8565. http://dx.doi.org/10.3390/ijerph18168565.
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Both deontological ethics and utilitarian ethics are important theories that affect decision making in medical and health care. However, it has been challenging to reach a balance between these two ethical theories. When there is a conflict between these two ethical principles in the medical context, the conflict must be addressed in order to reach an appropriate solution for patients and others involved. To demonstrate decisions made in terms of deontological ethics and utilitarian ethics, the study will use the film Outbreak as example to further understand these two ethics in relation to epidemiology and public health. The paper will also analyze film scenarios to examine how deontological ethics and utilitarian ethics are involved and strike a balance with different pearspectives to reach an appropriate public health solution. To reach more just solutions, it is essential to determine how to make wise decisions by balancing deontological ethics and utilitarian ethics. However, the decision-making process is complicated because any solution must consider not only medical ethics but also political, environmental, and military issues. In order to reach an appropriate public health decision, those involved should be inclined toward empathy and contemplate things from different ethical perspectives to deal with ethical/moral dilemmas and create greater beneficence and justice for patients and humanity at large.
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de Roo, Ludo. "Elemental Imagination and Film Experience". Projections 13, nr 2 (1.06.2019): 58–79. http://dx.doi.org/10.3167/proj.2019.130204.
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In an age of ecological disasters and increasing environmental crisis, the experience of any cinematic fiction has an intrinsic ethical potential to reorient the spectator’s awareness of the ecological environment. The main argument is that the spectator’s sensory-affective and emphatically involving experience of cinema is essentially rooted in what I call “elemental imagination.” This is to say, first, that the spectator becomes phenomenologically immersed with the projected filmworld by a cinematic expression of the elemental world, and second, much like there is no filmworld without landscapes, the foundational aspect of elements are revealed as preceding and sustaining the narrative and symbolic layers of film experience. While suggesting the existential-ethical potential of this fundamental process of film experience, the second aim of this article is to show that this form of elemental imagination complements more mainstream “environmentalist” films, such as climate change documentaries and blockbuster apocalyptic genre films.
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Van Deventer, André, i H. J. Breytenbach H J Breytenbach. "Verband tussen etiese orientasie en die beoordeling van wenslikheid van oudio visuele erotiek en sensuur". Communicare: Journal for Communication Studies in Africa 14, nr 2 (7.11.2022): 37–50. http://dx.doi.org/10.36615/jcsa.v14i2.1928.
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It seems that distinct differences of opinion regarding the desirability of the portrayal of eroticism in films and the application of censorship are evident in the South African society. This empirical study has attempted to identify amongst young adults the role that their ethical orientation plays in evaluating film eroticism and censorship. For this purpose four ethical orientations (the Individualistically, Transcendentalistically, Relativistically and Altruistically orientated groups) were identified. Research was conducted at four universities in which 418 respondents participated. The most important findings were that respondents supporting the Transcendentalistic ethical orienta tion differed significantly from the other in displaying a more negative attitude towards film eroticism and a more positive view of censorship. It was concluded that researchers should thoroughly take cognisance of the role that respondents' ethical red by the Publisher (dated 2010).
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Stadler, Jane. "The Empath and the Psychopath: Ethics, Imagination, and Intercorporeality in Bryan Fuller'sHannibal". Film-Philosophy 21, nr 3 (październik 2017): 410–27. http://dx.doi.org/10.3366/film.2017.0058.
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The long-form television drama series Hannibal (Fuller 2013–2015) thematises the embodied imagination and the elicitation of empathy and ethical understanding at the level of narrative and characterisation as well as through character engagement and screen aesthetics. Using Hannibal as a case study, this research investigates how stylistic choices frame the experiences of screen characters and engender forms of intersubjectivity based on corporeal and cognitive routes to empathy; in particular, it examines the capacity for screen media to facilitate what neuroscientist Vittorio Gallese terms intercorporeality. As a constitutive aspect of intersubjectivity and social understanding that works through embodied simulation, intercorporeality invites a reconceptualisation of empathy and its association with ethical motivation and insight. Hannibal also introduces cannibalism as a dark metaphor for the incorporation of another into oneself, reflecting on empathy's ill-understood potential for negative affect and unethical consequences.
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Rennebohm, Kate. "The “Cinema Remarks”: Wittgenstein on Moving-Image Media and the Ethics of Re-viewing". October 171 (marzec 2020): 47–76. http://dx.doi.org/10.1162/octo_a_00378.
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This essay uncovers and analyzes philosopher Ludwig Wittgenstein's little-known writings on film and related media, revealing their importance for film and media studies, the field of film philosophy, and for understanding Wittgenstein's later ethical thought. Through an explication of Wittgenstein's idiosyncratic ordinary-language philosophy, the author argues that these cinema remarks speak to Wittgenstein's sense that cinematic media offered new conceptualizations for thought on a variety of subjects. These include the nature of time, visual and phenomenological experience, and subjectivity. The remarks make clear, among other discoveries, that Wittgenstein was thinking about the relation of cinema and “the skeptical mindset” decades before Stanley Cavell made his influential arguments for such a connection. While the first half of the essay draws out the ethical stakes behind Wittgenstein's film remarks, the latter half turns explicitly to the philosopher's later, complex thought about ethics itself. Showing the importance of aesthetics, visuality, and sight to Wittgenstein's understanding of the field, this section addresses his notions of “aspect-seeing” and “aspect-change.” From this, the final section of contends that Wittgenstein's ethics want to work in the way he feels film can—by enabling one to “see anew” one's way of seeing as a way of seeing, thus opening new ethical-existential possibilities for one's way of being in the world.
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Gunn, Jenny. "Deleuze, Žižek, Spring Breakers and the Question of Ethics in Late Capitalism". Film-Philosophy 22, nr 1 (luty 2018): 95–113. http://dx.doi.org/10.3366/film.2018.0064.
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This article examines Harmony Korine's 2012 film, Spring Breakers. Arguing that Korine's film explores the bankruptcy of ethics in advanced capitalism, the article considers two predominate and contrasting theories of contemporary subjectivity: Slavoj Žižek's psychoanalytically-inspired conception of the subject as radical lack and Deleuze's affirmation of the subject through attention to affect and the virtual. In reference to Kant's radical reformulation of the moral law as an empty and tautological form with the concept of the categorical imperative, this article shows that Korine's allegory of the spring break adventure correlates the subject's eagerness to surmount any and all obstacles toward enjoyment to late stage capitalism's increasing encroachment on the absolute limit of deterritorialization. In so doing, the film suggests that neither Deleuze nor Žižek, affirmation nor lack, offer an effective ethical principle for the subject in the face of the real of global capital.
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Sticchi, Francesco. "David H. Fleming (2017) Unbecoming Cinema: Unsettling Encounters with Ethical Event Films". Film-Philosophy 23, nr 1 (luty 2019): 105–8. http://dx.doi.org/10.3366/film.2019.0103.
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Falzon, Christopher. "ExperiencingForce Majeure". Film-Philosophy 21, nr 3 (październik 2017): 281–98. http://dx.doi.org/10.3366/film.2017.0052.
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This article looks at the 2014 Swedish comedy-drama Force Majeure as a kind of moral thought experiment, but also insofar as it might not fit such a model. The idea of a cinematic ethics, of cinema as providing an avenue for thinking through ethics and exploring ethical questions, finds at least one expression in the idea of film as experimental in this sense. At the same time, simply subsuming film to the philosophical thought experiment risks forgetting what film itself brings to the proceedings; and how the cinematic medium might allow for an experimentation that goes beyond what can be done within the philosophical text. As experimental in a broad sense, Force Majeure evokes an experience, the extraordinary event beyond one's control, capable of putting a moral agent to the test, challenging one's sense of who one is and what one stands for. The film unfolds as a reflection on the results of this encounter with experience, and on the kind of moral self this experiment brings to light; and in the course of this reflection, it suggests some general conclusions about the human condition.
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Zeng, Zhaodong. "The Relationships in Novels from the Perspective of Literary Ethics—Taking the Film Lolita as an Example". Theory and Practice in Language Studies 9, nr 9 (1.09.2019): 1140. http://dx.doi.org/10.17507/tpls.0909.10.
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Vladimir Vladimirovich Nabokov is an outstanding and productive Russian-Amercian writer. As the epitome work of the writer, Lolita must be the most controversial novel without doubt. This novel has been adapted into two versions of films: 1962 version and 1997 version. This paper will analyze the 1997 version of Lolita directed by Adrian Lyne. Most critics have mainly conducted the analysis of the film form the perspective of ethnics, postmodernism, narrative strategy, time as well as the image of death. However, there are few, if any, researches done from the perspective of literary ethics to dig into the relationships in the film. With the integration of ethics methods and literary research methods, literary ethics serves as a major new criticism approach and is mainly employed to conduct the analysis of literature. With the ethical factors unveiled in Lolita, this paper seeks to analyze three relationships: human beings and society, human beings and self, ethics and truth. The paper interprets the film Lolita from the perspective of literary ethics, explores the relationships in the film, exploits Vladimir Vladimirovich Nabokov’ s pursuit of truth, kindness and beauty, and also hopes to provide a new direction for later research on the film Lolita.
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Gjelsvik, Anne. "Etiske lesninger i fiksjonens frirom". K&K - Kultur og Klasse 36, nr 106 (22.03.2009): 120–41. http://dx.doi.org/10.7146/kok.v36i106.22027.
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Ethical Readings in the Unbiassed Sphere of Fiction:This article defends an ethical criticism of fiction film. Drawing on the so-called »ethical turn« in philosophy and literary criticism, as well as perspectives from new tendencies in cognitive film theory, Gjelsvik argues that an ethical criticism is not just possible, but unavoidable.Using contemporary American fiction film and the depiction of violence as her main case-study, she aims to show that there is no such thing as a separate fictional realm beyond the scope of ethical evaluations. A central example in her discussion is Quentin Tarantino’s Kill Bill, a movie which was regarded by the Norwegian film reviewers as a fairy-tale and »just for fun«; accordingly the movie’s depiction of violence was not subject to an ethical criticism. Gjelsvik points to several reasons why this position (close to »aestheticism« in art theory) is inadequate, and she proposes a moderate version of ethical criticism instead. She discusses the moderate position as formulated by Berys Gaut and Noël Carroll, both philosophers who also have worked extensively on film art, trying to transfer their perspectives on art onto popular culture.She argues that such an approach also needs to take into consideration the emotions evoked by the movie and by violent depictions in particular. Whereas cognitive film theorists have foregrounded the similarities between the viewers’ emotional response to film and their real-life emotions, Gjelsvik makes a case for the importance of considering the distinctive features of fiction and cinematic depictions.The overall argument is that, as the relation between moral and aesthetic values is complex, ethical criticism should not aim for categorical evaluation. On the contrary, the position should take into consideration the heterogeneousness of fiction film, for instance in the differences between different movies’ depiction of violence, and acknowledge the value of ambivalent reactions towards fiction as well.
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Rennebohm, Kate. "‘A pedagogy of the image’: Chantal Akerman’s ethics across film and art". Moving Image Review & Art Journal (MIRAJ) 8, nr 1 (1.09.2019): 40–53. http://dx.doi.org/10.1386/miraj_00004_1.
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This article elucidates the complex ethical paradigm at the heart of Chantal Akerman’s work and thought, arguing first that her ethics are as concerned with the figure of the self as they are with the figure of the other and that, second, these ethics exist as much in the spatial and durational structures of her work as in the content of her images. In this way, this article contends that approaching Akerman’s work through the question of ethics allows one to see consistencies across her film and installation work, even as her aesthetic strategies shift across the different dispositifs of the cinema and the gallery or museum. Addressing these shifts, I offer the concept of Akerman’s ‘ethical pedagogy of the image’ – a term that implies both a method and a site of instruction. Drawing on these two meanings, this article ultimately reveals that Akerman’s pedagogical aim involves turning viewers’ ethical attention back on to themselves – to offer a prompt and a space for reconsideration of their own ethos.
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Horner, Kierran Argent. "The Equality of the Gaze: The Animal Stares Back in Chris Marker's Films". Film-Philosophy 20, nr 2-3 (październik 2016): 235–49. http://dx.doi.org/10.3366/film.2016.0013.
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This article considers a selection of Chris Marker's films in the context of noted differences between Emmanuel Levinas's and Jacques Derrida's positions on the animal as Other, the potential for the animal face. Derrida (2008) himself argues that Levinas ‘did not make the animal anything like a focus of interrogation within his work’ (p. 105). Statements such as this about Levinas's ethics seem to make his position clear. In contrast, Derrida's thinking on the matter of the animal, and in particular human responsibility for them as Other, stands as a thorough and influential body of ethical thought, probing the limited and limiting boundary between human and animal. His autobiographical texts, according to Lynn Turner (2015 , p. 135), welcome animal others. Marker's images, I will argue, address an equity between species through what he refers to as the égalité du regard, an equality in the gaze (of the camera). These images speak to a space beyond themselves and it is within this territory, I will argue, that the animal does have a face, that can occur via that of the human.
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Neufeld, James. "Divided We Fall: Subtitles, Sound, and the Postwar Reconstruction of Language". Religion and the Arts 12, nr 4 (2008): 559–68. http://dx.doi.org/10.1163/156852908x357407.
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AbstractThis essay considers the ethical significance of language in a Czech film (Divided We Fall, 2000) about the Nazi occupation of Czechoslovakia during the Second World War. It argues that linguistic shifts from Czech to German, to French, and to Yiddish, in both the dialogue and the lyrics to background music, expose the politically and ethically contested terrain of the film. Bilingual Czech nationals make subtle language choices depending on their circumstances, and those language choices gradually assume ethical significance as they highlight both the characters' prejudices and their small acts of heroism. Language itself thus becomes a guidepost to the film's examination of the ethically complicated choices which Nazi authority imposed on ordinary citizens. By paying close attention to language, one can see even the reviled Nazi collaborator in the film as attempting to assert some small measure of the human charity which his status as a collaborator contradicts. The paper concludes with a suggestion that the linguistic choices of the film contribute to a larger project of reclaiming the German language itself from the corruption it suffered because of its wartime use as the language of Nazi ideology and propaganda.
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Hughes, Mandy. "Collaborating with refugees". Alphaville: Journal of Film and Screen Media, nr 18 (1.12.2019): 160–74. http://dx.doi.org/10.33178/alpha.18.12.
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Representing stories through documentary film can offer a means to convey multilayered and sensory accounts of the lived experiences of people in extreme transition, especially former refugees. However, along with the potential of this medium comes the responsibility to engage with participants in an ethical and reciprocal manner. This article examines these prerequisites and applies them to two films about the experiences of people from refugee backgrounds in Australia. The first film, The Last Refuge: Food Stories from Myanmar to Coffs Harbour (2015), explores the Myanmar community, their sociocultural relationship to food and how this informs their identity. The second film, 3Es to Freedom (2017), documents a supported employment program for women from refugee backgrounds. Despite having different purposes and target audiences, the two films reinforced the importance of establishing informed and negotiated consent with marginalised people as the basis of all interactions and representations on film. Such negotiation seeks to minimise power imbalances and forms the ethical starting point for reflexive filmmaking practice that considers the filmmakers’ and participants’ intentions, and that promotes a heightened awareness of how knowledge is created through image-making.
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Aburghif, Hsham. "Ethics Reflexivity in Documentary Film (An i-doc as a model)". Academic Journal of Research and Scientific Publishing 4, nr 41 (5.09.2022): 28–40. http://dx.doi.org/10.52132/ajrsp.e.2022.41.2.
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This article highlights the ethics of documentary filmmaking. It focuses on filmmakers' task to consider these ethics based on the ethical philosophy of Emmanuel Levinas in exploring the dilemmas of representation in documentaries adopted by Nash (2011), who notes that stories and ethics always go hand in hand. Determining the ethics of regulating documentary filmmaking is not easy and has been controversial over time. It is possible to define the ethics of a filmmaker academically. However, in practice, the matter is different as conditions and reality are imposed on the filmmaker, which makes his experience and expertise different from the ethics of theoretical filmmaking. This paper aims to show how an increasing number of academic scholars and filmmakers' industry stakeholders working for one goal can help improve the arguments on documentary filmmaking ethics to capitalise in the subsequent films. The method is to review published reports and articles on the ethics in documentary film and reflexivity, further including observed data about the experiences of others to help understand the ethics that guide documentary filmmaking, including my experience as a filmmaker in producing the interactive documentary Eden Again (2017) as a model. The problem discussed in this paper relates to what kills the documentary: the conflict between professional ethics and ideological biases. Some agendas negate professionalism and credibility by promoting or seeking to serve particular interests that push those behind the film to hide the truth instead of being completely open to exploring the participants' matters and following filmmaking's ethics. Documentary filmmakers are recommended that if they have ideological biases and solid feelings or preconceived ideas, set them aside and ethically interact with the facts they encounter while working on a documentary.
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Hope Finnegan, Elizabeth. "To See or Not to See: A Wittgensteinian Look at Abbas Kiarostami's Close-up". Film-Philosophy 22, nr 1 (luty 2018): 21–38. http://dx.doi.org/10.3366/film.2018.0060.
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Ludwig Wittgenstein's notion of aspect-seeing, and Stanley Cavell's notion of aspect-blindness, allow us to situate Abbas Kiarostami's quasi-documentary Close-Up (1990) as a radical revision of the genre that fundamentally challenges our assumptions about truth and representation in documentary film. Considering the film through the lens of Wittgenstein's and Cavell's philosophies of seeing puts pressure on the ethical dimension of the process of seeing as it is both enacted by and represented in the film. Kiarostami brings to the foreground the intransigent aspects of documented reality and unsettles certain aspects of the documentary process. In doing so, he reveals our blind spots about what we think documentary film does, or ought to do. Close-Up blends layers of the real: part documented present and part re-enacted past, the film recreates the story of a real group of people who become actors playing themselves, re-enacting the story for Kiarostami's camera, repeating all of their “lines” exactly (or perhaps not so exactly) as they recall them. Is this film a documentary? Is it fiction? Where is the “real,” and what is the truth? Is “truth” ever representable? For Kiarostami, as for Cavell, these questions of representation become ethical questions. With each unraveling of a layer of reality, Kiarostami reveals a new aspect and a new opportunity for his “characters” – and his audience – to see (or to fail to see) it.
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Dickson, Simon. "David Martin-Jones (2018)Cinema Against Doublethink: Ethical Encounters with the Lost Pasts of World History". Film-Philosophy 25, nr 1 (luty 2021): 74–78. http://dx.doi.org/10.3366/film.2021.0160.
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Valerian, Hizkia Fredo. "Perjumpaan dengan Yang Lain: Refleksi Filosofis terhadap Film “Hotel Rwanda” dari perspektif Etika menurut Emmanuel Levinas". Jurnal Ledalero 20, nr 1 (1.09.2021): 143. http://dx.doi.org/10.31385/jl.v20i1.224.143-159.
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<p>This article presents a philosophical reflection on the story of Hotel Rwanda’s film from the Ethic’s perspective of Emmanuel Levinas. Hotel Rwanda’s Film tells a story about the conflict between two of Rwanda’s native tribes, Hutu and Tutsi, that highlighting violence and genocide as the impact of the racial discrimination paradigm. By analyzing some events that were pictures from the film, I saw that two interesting ideas to reflect by Levinas’ Ethic perspective. First, about the dangerous tendency of totality by stigmatizing other people by ideas. And the second is the philosophical idea regards to the meaning of encountering the face of the other, as the basis of responsibility to the other man. In that way, Hotel Rwanda’s film can be presenting a relevant illustration for some core on Levinas’ thought that focusing on the ethical problem concerning justice and humanity</p><p>Keywords: Hutu, Tutsi, Genocide, The Face, <em>The other, </em>Ethics.</p>
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Zheng, Shaomin. "Narrative Ethics of Post-Modern Visual Culture between Chinese “Diors Series” and Western “Loser Series” in Comparative Perspective". Interlitteraria 24, nr 1 (13.08.2019): 205–19. http://dx.doi.org/10.12697/il.2019.24.1.15.
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The main characteristics of the post-modern culture such as counterculture, non-conformism, virtualization, fragmentation, mass culture, business culture and irrationalism etc., decide the post-modernity of visual culture. “Film”, as an indispensable element of visual culture, has a narrative ethics that can be used for an interpretation of ethical orientation and ethical values in post-modern visual culture. This article, by comparing “Diors image” in Chinese Diors series with “loser image” in western loser series, the typical post-modern visual image, takes the post-modern context as the focal point and makes a further study of “Diors culture” or “loser culture”, which is formed in the phenomenon of post-modern culture, and thus explores narrative ethics and ethical values in post-modern visual culture.
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Rahmatika, Arina. "Dakwah Melalui Film: Sebuah Kajian Aksiologi". Jurnal at-Taghyir: Jurnal Dakwah dan Pengembangan Masyarakat Desa 4, nr 1 (28.12.2021): 133–46. http://dx.doi.org/10.24952/taghyir.v4i1.4283.
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The rapid development of information and communication tools makes da'wah must be transformed according to the times, one of which is through film media. Da'wah through films can be seen from how the internalization of Islamic values in the film. In addition, film as a medium of mass communication has the opportunity to be a means to guide Muslims through the Islamic values contained in the film. The merging of da'wah and film as an expression of art and culture produces contemporary da'wah, alternative da'wah and transformative da'wah. However, to find out the extent to which the nature and benefits and values of Islam are contained in the film, it is necessary to discuss the da'wah film from various axiological perspectives, both in terms of use values, ethical values, aesthetic values and Islamic values.Keywords: Da’wah, Film, Axciology
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Dancus, Adriana Margareta. "Vulnerable exposures: A conversation with Norwegian filmmaker Anne Haugsgjerd". Journal of Scandinavian Cinema 10, nr 3 (1.09.2020): 273–79. http://dx.doi.org/10.1386/jsca_00030_7.
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Since the 1980s, the quirky and explorative filmmaker Anne Haugsgjerd has experimented with staging her own vulnerability in front of the camera and is thus a pioneer of self-mediation in Norwegian film. In this interview, Haugsgjerd talks about how she developed her unique approach to making film, including a questioning and uncertain voice-over that has become her signature. In addition to situating her own film practice in a Norwegian and international context, Haugsgjerd reflects on ethical issues pertaining to self-mediation, shares anecdotes that speak of the popular appeal of her films and discusses challenges and opportunities connected to making and distributing films like hers to national and international audiences.
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Boyd, David P. "Dodging Dysfunctional Dynamics In Power Exchange". American Journal of Business Education (AJBE) 3, nr 11 (1.11.2010): 31–38. http://dx.doi.org/10.19030/ajbe.v3i11.60.
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In today’s organizations, the impetus for employee empowerment remains strong. By developing an internal talent base, companies increase the likelihood of comprehensive contributions and also engender loyalty within the ranks. A proclivity for power dispersion is evident among many pundits, with some even decreeing it an ethical mandate. Yet, if rashly executed, empowerment can result in dire outcomes for the individual and dysfunctional consequences for the firm. Through reference to the medium of film, this paper portrays four situations where empowerment efforts have gone awry, accentuating employee estrangement and eroding corporate ethics. Because the behavioral dynamics of film are frozen in time and thus susceptible to recursive scrutiny, students can glean institutional insights that will facilitate career advancement. Just as important, they will confront value conflicts that impel them to clarify their own ethical stance.
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Dalle Vacche, Angela. "André Bazin's Film Theory: Art, Science, Religion". Artium Quaestiones 31, nr 1 (20.12.2020): 191–207. http://dx.doi.org/10.14746/aq.2020.31.7.
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Always keen on the spectators’ freedom of interpretation, André Bazin’s film theory not only asks the famous question “What is cinema?,” but it also explores what is a human. By underlining the importance of personalist ethics, Angela Dalle Vacche is the first film specialist to identify Bazin’s “anti-anthropocentric” ambition of the cinema in favor of a more compassionate society. Influenced by the personalist philosophy of his mentor, Emmanuel Mounier, Bazin argued that the cinema is a mind-machine that interrogates its audiences on how humankind can engage in an egalitarian fashion towards other humans. According to Bazin, cinema’s ethical interrogation places human spirituality or empathy on top of creativity and logic. Notwithstanding Bazin’s emphasis on ethics, his film theory is rich with metaphors from art and science. The French film critic’s metaphorical writing lyrically frames encounters between literary texts and filmmaking styles, while it illuminates the analogy between the élan vital of biology and cinema’s lifelike ontology. A brilliant analyst of many kinds of films from Europe, Asia, and Latin America, ranging from fiction to documentary, from animation to the avant-garde, Bazin felt that the abstractions of editing were as important as the camera’s fluidity of motion. Furthermore, he disliked films based on a thesis or on an a priori stance that would rule out the risks and surprises of life in motion. Neither a mystic nor an animist, Bazin was a dissident Catholic and a cultural activist without membership of a specific political party. Eager to dialogue with all kinds of communities, Bazin always disliked institutionalized religions based on dogmas.
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Broadhead, Samantha, Karen Tobias-Green i Sharon Hooper. "A Conversation about Ethics: A Deliberative and Practice-Based Approach to Ethics in Arts Education". Societies 13, nr 2 (7.02.2023): 39. http://dx.doi.org/10.3390/soc13020039.
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This article reports on a practice-based research project that examined the various orientations of practice to ethical deliberation. The aim was to produce a film that captured ethical debate between two creative practitioners as they walked through their local streets. The film would be a catalyst for staff and students at an arts institution to think about their own ethical practices. The approach taken was based on Aristotelian notions of phronesis or practical wisdom, which is concerned with making ethical judgments based on deliberation. Issues were raised by the project, such as the tensions between policy and practice and the tensions between aesthetic considerations and ethical practice. Questions about the value of narrative, representation, and learning through doing were raised by the work.
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Kent, Laurence. "Becoming-Flashdrive: The Cinematic Intelligence of Lucy". Film-Philosophy 24, nr 3 (październik 2020): 284–303. http://dx.doi.org/10.3366/film.2020.0146.
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An important but easily forgotten moment in the history of film-philosophy is Jean Epstein's assertion that cinema, more than merely thinking, has a kind of intelligence. If it is a newfound conception of rationality that is needed for any contemporary ethical relation to the world, as thinkers from Reza Negarestani and Pete Wolfendale to feminist collective Laboria Cuboniks have espoused in their respective neo-rationalist projects, then cinema as a thinking thing must be interrogated in its relation to reason. A somatophilia of purely affective and phenomenological approaches in film theory alongside micropolitical injunctions to undermine common-sense and liberate one's desire in extremity can fall limp in view of such calls for universal thinking around rationality. To understand cinema's specific form of intelligence, this article will explore Luc Besson's Lucy (2014) as an instance of how film is able to represent intelligence. Besson's film provides a site where Western cultural anxieties and assumptions around intelligence are manifested. This will allow an explication of contemporary approaches to intelligence in philosophy whilst confronting these discourses with the insidious problematics of gender and race that undergird the film. I argue that Lucy shares many of its ambitions with the emerging vectors of thought associated with the neo-rationalist perspective in its engaging with a rethinking of universal values and the Promethean possibilities of human action. Reading the film through these philosophies will help position the ethical stakes it sets up, but also to distinguish it from a trend of contemporary “posthuman” films that it finds itself in company with. While it is certainly true that posthuman themes, as well as transhumanist fantasies, seem to permeate Besson's film, this article will incorporate another neologism, taken from neo-rationalist thinkers, in order to emphasise moments that can be productive from the standpoint of a philosophical account of intelligence: “rationalist inhumanism.”
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Tunc, Aysegul Ozbebek, Esra Kilicarslan Toplu Toplu i Selim Yazici. "Understanding the Behavioral Paradox of the Companies’ by Using "The Corporation" Documentary". International Business Research 10, nr 5 (24.04.2017): 169. http://dx.doi.org/10.5539/ibr.v10n5p169.
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Films are widely used in business education to illuminate management concepts. Since films can provide a version of how theories and concepts can actually be put into practice, they have more lasting impression. On the other hand; ethical issue are complicated and they involve many processes and influences that are diverse and interlinked. That’s why it is difficult for students to understand potential conflicts of interest if they lack business experience or frame of reference. In this study, “The Corporation”, a documentary film by March Achbar, Jennifer Abbott and Joel Bakan, which has received awards in film festivals around the world, has been used for analysis to illustrate the behavioral paradox of corporations. Film analysis has been used as an educational tool in order to teach organizational behavior and management concepts since 1970s. To check our assumption we have designed a study to explore whether using "The Corporation" documentary in classroom settings will raise the awareness of the students about the role that corporations play in ethical, social, and environmental issues which are essential for business decisions, and thus enable the students -the future business managers-, to understand the paradoxical behaviors of corporations. After the students watched “The Corporation”, a quantitative analysis has been conducted by comparing the written essays of the students as regards their interpretation of the film.
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Olivier, Bert. "When Robots would really be Human Simulacra: Love and the Ethical in Spielberg's AI and Proyas's I, Robot". Film-Philosophy 12, nr 2 (październik 2008): 30–44. http://dx.doi.org/10.3366/film.2008.0014.
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Fagan, Madeleine. "Who’s afraid of the ecological apocalypse? Climate change and the production of the ethical subject". British Journal of Politics and International Relations 19, nr 2 (19.01.2017): 225–44. http://dx.doi.org/10.1177/1369148116687534.
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Contemporary representations of environmental futures often feature apocalyptic scenarios, particularly in film and popular culture. However, these dire warnings have seemingly been ineffective at motivating action on climate change. In response, there has been a call for specifically ethical engagement to provide an alternative means of motivation. This article offers an analysis of the effects of ecological apocalypse narratives on the (re)production of the ethical subject of climate change. The article illustrates the intertextual production of the ethics and apocalypse discourses in order to argue that rather than providing an alternative, the ethical motivation approach in fact (re)produces the assumptions and effects of apocalyptic narratives in a way that sediments a non-relational logic of the ethical subject, in both spatial and temporal terms. Such a logic makes responsive ethical or political engagement with ecological futures very difficult and limits possibilities for thinking progressively about climate change.
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Kim, Jihoon. "Synthetic Vision in Virtual Reality Documentaries". Film-Philosophy 25, nr 3 (październik 2021): 321–45. http://dx.doi.org/10.3366/film.2021.0178.
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Based on a nuanced understanding of immersion and sense of presence (SoP) as two key aesthetic effects that the application of virtual reality (VR) to cinema is believed to innovate, this paper develops the concept of synthetic vision as fundamental to understanding the visual experience of VR media, particularly VR documentaries. The concept contends that viewers’ experience in VR is based on two visions that seemingly contradict each other: first, a disembodied vision that transports them to a simulated world, and second, an embodied vision guaranteed by the freedom to control kinesthetic movement and direction of gaze. This serves to advance the idea that immersion and SoP are not unified but rather multifaceted concepts premised on a nuanced understanding of the varying relationships between the technological system of VR, its media content, and its user. For the concept of synthetic vision points to the paradoxical coexistence of viewers’ presence in the virtual world and their structural absence from the world that lays the groundwork for their immersive experience. By classifying three generic categories of contemporary VR documentaries (humanitarian and journalism documentaries, documentaries about nature, travel, and museum visits, and documentaries based on the reenactment of conscious or mnemonic realities), and by examining the aesthetic and ethical underpinnings VR brings to each of them, I argue that it hinges upon what kind of cinematic conventions and genres are remediated to determine the effective synthesis of the two visions. The varying effects of synthetic vision in the three subgenres of VR documentary stress that immersion and SoP have different political and ethical consequences of media witnessing. In the conclusion, I recapitulate multiple implications that the concept of synthetic vision has in regards to both the studies on VR and the recently flourishing investigation into cinematic VR artifacts.
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Loht, Shawn. "Film as Ethical Philosophy, and the Question of Philosophical Arguments in Film". Film and Philosophy 18 (2014): 164–83. http://dx.doi.org/10.5840/filmphil20141811.
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Philipsen, Heidi. "En leg med æstetik og etik: Om filmen De fem benspænd". K&K - Kultur og Klasse 36, nr 106 (22.03.2009): 166–89. http://dx.doi.org/10.7146/kok.v36i106.22029.
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A Game with Aesthetics and Ethics: On the Film The Five Obstructions:In this article my approach is to analyse what kind of ethics is implied in the experimental documentary film The Five Obstructions (2003) made by the Danish directors Lars von Trier and Jørgen Leth. What are the consequences for Leth when Trier tries to push him into making a miserable and ugly film through the help of certain rules that Leth would never have invented himself? What are the consequences for the citizens when Leth chooses to create a scene in the Red Light District in Mumbai? And how is the audience supposed to respond to this unusual film, in which Leth is creating five new interpretations of the short fiction film The Perfect Human Being (1967)? My answers to these questions will be that the life of the prostitutes in the Red Light District will carry on as usual after Leth has left this area. For Leth the constraints given to him by Trier have worked as a kind of ‘scaffolding’ (Wood, Bruner and Ross, 1976) and have inspired him to innovate in his own filmmaking. Concerning the audience of the film, they will be forced to judge for themselves whether they agree with the moral that Trier and Leth use in the film and what kind of ‘ethos’ this produces. Leth is going through an interesting development in The Five Obstructions, but this is certainly not the direction that Trier initially hoped he would take. The short films Leth creates – as demonstrated in the film as a whole – are primarily influenced not by the ethical approach from Trier, but by the scaffolding he offers Leth.
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O'Rawe, Des. "Plays and Fragments: Antigone, Film, Modernity". Modernist Cultures 17, nr 1 (luty 2022): 1–26. http://dx.doi.org/10.3366/mod.2022.0357.
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Within the history of modernity, the tragic shape and ethical concerns of the Antigone myth have made it a touchstone for understanding contemporary cultural and political realities. This essay traces the modernist processes of adaptation, citation, displacement, and revision that have often characterised the relations between filmmakers and this phenomenon. Focussing in particular on those films that subvert the authority of narrative realism and the laws of conventional – ‘classical’ – film language, it traces how particular social contexts and commitments have inevitably constructed different images of Antigone – how the Antigones that emerge in early or ‘silent’ cinema, for example, compare with those from other film and media forms, including television, video and installation art works.
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García-Reyes, David, i Marta Gallardo. "Lucía Puenzo: Readings from the Margins of a Literary Film Universe". Humanities 11, nr 2 (11.03.2022): 40. http://dx.doi.org/10.3390/h11020040.
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The writer and director Lucía Puenzo expresses herself in two different languages: literary prose and cinematographic narrative. Her work is characterised by a single ethical and aesthetic commitment. She highlights sensitive contemporary issues such as identity, gender, sexuality, marginality and the family, but also ethical concerns around eugenics, migration, exclusion and dangerous social elements. The paper looks at the differences between the novels XXY, El niño pez (The Fish Child) and Wakolda (The German Doctor) and their corresponding films, highlighting Puenzo’s stylistic and aesthetic constants. The notion of identity, the notion of family and different historical perspectives and their representations are analysed in her literary works and their subsequent adaptations in films. A comparative analysis of the literary and film texts help us to see how plotlines have been transposed, observing the differences and the reasons for these differences. She keeps her two creative sides separate and makes significant changes as she adapts the literary original to the film script. Her audiovisual approach is to reduce the plotlines and issues shown in the originals. The value of Puenzo’s artistic production is making visible characters who are on the edges or are socially marginalised, favouring their acceptance and integration in the society.