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A publicação pode ser exportada nos seguintes formatos: referência da APA (American Psychological Association), referência do IEEE (Institute of Electrical and Electronics Engineers), BibTeX e RIS.

Exportar Referência (APA) 
Baldi, V. & Conceição, N. (2022). Filming concepts, thinking images: On wonder, montage and disruption in an image-saturated world. Eidos: A Journal for Philosophy of Culture. 6 (2), 70-85
Exportar Referência (IEEE) 
V. Baldi and N. Conceição,  "Filming concepts, thinking images: On wonder, montage and disruption in an image-saturated world", in Eidos: A Journal for Philosophy of Culture, vol. 6, no. 2, pp. 70-85, 2022
Exportar BibTeX 
@article{baldi2022_1732399979208,
	author = "Baldi, V. and Conceição, N.",
	title = "Filming concepts, thinking images: On wonder, montage and disruption in an image-saturated world",
	journal = "Eidos: A Journal for Philosophy of Culture",
	year = "2022",
	volume = "6",
	number = "2",
	doi = "10.14394/eidos.jpc.2022.0017",
	pages = "70-85"
}
Exportar RIS 
TY  - JOUR
TI  - Filming concepts, thinking images: On wonder, montage and disruption in an image-saturated world
T2  - Eidos: A Journal for Philosophy of Culture
VL  - 6
IS  - 2
AU  - Baldi, V.
AU  - Conceição, N.
PY  - 2022
SP  - 70-85
SN  - 2544-302X
DO  - 10.14394/eidos.jpc.2022.0017
AB  - This article explores the relation between cinema and philosophy through the lens of interest shown by some filmmakers in the lives and works of philosophers. It begins by delving into contemporary perspectives on the relationship between philosophy and cinema. In order to assess how the constitutive dissimilarity of the two terms and the ways in which they can be brought together are at the origin of speculative short circuits and experiences of wonder, it brings together the works of thinkers – Cavell, Benjamin, and Kracauer; and filmmakers Rossellini, Montaldo, Keaton, and Jarman. Reflecting on the aesthetic and cultural impact of cinema is all the more important given the current omnipresence of images and prosthetic technologies that, with their incessant solicitations, threaten the processes of apprehension, learning, and conveying of knowledge. Thinking and perceiving differently thus becomes an essential function of cinema, one keenly performed in Safaa Fathy’s Derrida’s Elsewhere, analyzed in the last two sections
ER  -