This interdisciplinary study of recurrent themes in German cinema as it has developed since the early twentieth century focuses on pertinent films of the pre- and post-World War II eras. The author explores the nature of expressionism, which is generally agreed to have ended with the advent of sound, and its persistence in the styles of such modern masters of film noir as Orson Welles and Ingmar Bergman. In considering the possibility of homologies between the necessary silence of pre-sound cinema and the widespread modernist aspiration to an aesthetic of silence, Coates relates theories of...

Film at the Intersection of High and Mass Culture analyses the contradictions and interaction between high and low art.

This book is an important study in the philosophy of the mind; drawing on the work of philosopher Wilfrid Sellars and the theory of critical realism to develop a novel argument for understanding perception and metaphysics.

A study of the use of color in film, and of the ways in which color has been theorized, both as a concept and specifically in terms of cinema.Paul Coates unpacks the use of color in a diverse range of filmssuch asAll that Heaven Allows, The Wizard of Oz, Three Colours and The Lives of Others, and many more."

Coates presents the face in film as a place where transformations begin, reflecting both the experience of modernity and such influential myths as that of Medusa. This is exemplified by a wide range of European and American films, including Ingmar Bergman's Persona .

The intention of this project is to argue theoretically for, and exemplify through critical and historical analysis, the interrelatedness of discourses on scale, distance, identification and doubling in the cinema. The link between the first two terms (scale and distance) and the latter two (identification and doubling) is implicit in the title, and its unfolding constitutes the project: for instance, the closer one comes, the deeper identification is likely to be, and the greater the likelihood that what is apparently 'there' will impose itself as also 'here', existing both inside and...

What are phenomenal qualities, the qualities of conscious experiences? How do the phenomenal aspects of conscious experiences relate to brain processes? To what extent do experiences represent the things around us, or the states of our own bodies? Are phenomenal qualities subjective, belonging to inner mental episodes of some kind, and merely dependent on our brains? Or should they be seen as objective, belonging in some way to the physical things in the world around us? Are they physical properties at all? The problematic nature of phenomenal qualities makes it hard to understand...