Undone Apart: Artistry and Philosophy in Graphic Adventure Game ‘Life Is Strange’
Why create such a highly-fictionalized, aestheticized setting as Life Is Strange to express the confusion and contradictions of life?
Why create such a highly-fictionalized, aestheticized setting as Life Is Strange to express the confusion and contradictions of life?
In his book, An Event, Perhaps, Derrida's intellectual development is adroitly unpacked by Peter Salmon without bamboozling the reader or peddling dime-store psychologizing.
Andrew H. Miller's On Not Being Someone Else considers how contemplating other possibilities for one's life is a way of creating meaning in the life one leads.
According to Slavoj Žižek's latest work, Hegel in a Wired Brain, a new kind of Fall from the Fall is necessary.
Critic Roger Ebert was frustrated with Abbas Kiarostami's Taste of Cherry because the film subverts our desire to understand another -- the very core of cinema's intent.
Paul Schrader's The Comfort of Strangers presents the discomfiting encounter with another —someone like you—and yet entirely unlike you, mysterious to you, unknown and unknowable.
Pier Paolo Pasolini's classic drama, Teorema, grapples with the parable -- the manner of knowing that which always remains just beyond our grasp.
Bruce Lee's fight scenes evoke Gestalt theory: actual perception is a response to a provocation. Consider this philosophy while watching the films in Bruce Lee: His Greatest Hits and you too can become the water.
In a strange kind of way, Miranda July's Me and You and Everyone We Know is about two competing notions of "forever" in relation to love.
Riffing off Marx's riff on Hegel on history, art historian and critic Hal Foster contemplates political culture and cultural politics in the age of Donald Trump in What Comes After Farce?