PHILOSOPHY & CLINICAL CINEMA
Articles from Clinical Philosophers , Movies Reading Clinic (Indications) , Clinical Philosophy Leave a Comment »
The use of film as a teaching resource to the teaching of Clinical Philosophy
Márcio José da Silva Andrade
marciojosefc@terra.com.br
INSTITUTE Packt - RS
Center for Clinical Philosophy - Campinas / SP
CEFIB - Brazilian Center of Philosophy - UFRJ
CEUCLAR - University Center Claretian - Campinas / SP
TAKE 1 - CLINIC PHILOSOPHY
Clinical Philosophy academic philosophy is used as a therapeutic procedure. This is the cornerstone of a priori definition of what we call clinical philosophy. But not the philosophy in its entirety is used in therapy, Clinical Philosophy does not use only one system developed by a pensandor, it will look in every philosophical system that best fits the therapy, after all are more than 2,500 years of thinking men and their relationships. Riding like a therapy focused on the subject, not wanting to fit into a typology therapy. "In its own way, he noted, in reporting the stories of different people, correspondences between the concepts of life in them and recognized the many fundamental tenets of the major theoretical currents of thought, so that none of these alone would have been able to explain satisfactorily human diversity. With discipline held in the same direction for theories of people. "(GOYA)
History of Philosophy Clinic began in the eighties of last century - and that not long ago in spite of what the term persists in telling us - Lucio Packter began his research he came to be called later clinical philosophy. Fruit of the face of existential questions not answers of psychoanalysis and psychiatry. In his travels to meet other forms of therapy, Lucio Packter was in Europe, saw "a philosophy aimed at the Clinic. Forward the philosophy of counseling that met there, that it could be something beyond. Coming back to Brazil, leaned in-depth study of the existential conditions where every human being should be the subject of his own existence and respected in their uniqueness, as each one has its way of being in the world. "(KRAUSE). However, an initial question became: How would a philosopher, a therapist, which cognitive and ethical procedures and what techniques you use? Lucio formally presented this research as a blueprint for post-graduate in philosophy and psychoanalysis in 1993 with the title "clinical philosophy: a philosophical introduction to psychotherapy." His academic goal was "to mean the activity of the philosopher in the course of psychotherapy, beginning from the cabinet: an analytical introduction about the service in structured clinical philosophy" (Packt: 1993). These studies are used to perceive as "philosophical writings, texts, reflections, research and discoveries of thinkers like Socrates, Plato, Aristotle, St. Augustine, Locke, Hume, Kant, Hegel, Nietzsche, Marx, Hurssel, Wittgenstein, Hediegger, Foucault, Popper , Searle and many others "(BOAR & CLAUS).
The first class of clinical philosophy emerge in the 90s, with the opening of the Institute Packter in Porto Alegre / RS, with that name paid homage to his grandfather Bernardo Packter who always encouraged him and whom I consider as one of the persons to serve as a reference to the part of otherness in the Philosophy Department. Clinical Philosophy is based on these philosophical knowledge in an individual therapy, applying philosophical theories on the possibilities of human beings, while it performs by itself. Further reading on this proposal may be made in the book Workup - Clinical Philosophy , available at the Institute Packter .
According to Protagoras, "Man is the measure of all things," so to Clinical Philosophy becomes the first fundamental lesson to be learned. What one feels, lives, says, thinks, does so for her, regardless of the opinions of others. Each person is the measure of all things, because it will genuinely experience the world in unique, even if you use other ways to measure people. Thus we arrive at the assertion that clinical philosophy there are two kinds of truths. The subjective result of the unique experience of the person and actually agreed, consensual, established jointly by all people. As an example, road signs, marking time on the clock. Are some of the truths agreed.
Intersection
All in the clinic is the result of the quality of intersection between the philosopher and the person. Yet it is not just a service that would intersect, it occurs in our day to day. And it is easy to see if the intersection is positive, negative, indeterminate or confusing. For example, a positive intersection is one that is subjectively pleasing to the people involved. Or people may be living subjectively bad relationship, this would be a negative intersection, an intersection bad, nasty, conflicted people, but for thousands of reasons they decided not to break this intersection, as a couple who may be experiencing a difficult relationship, subjectively unpleasant for both, but chose to live until her sons can live on their own. In the confusing intersection is not possible to identify whether people are existentially subjectively good or bad in relation to another person. And at the intersection practically unknown person has a polarity to the other person feel good and do not feel good subjectively. But it is through the intersection that we will realize that "there is a weak point of equilibrium in relations between people. Alliances for extraordinary approach to the human condition. Routes of access, representation of each, vast and unexplored continent can show off. "(Strassburg). Where every person is a set composed of elements (knowledge, culture, emotions, genetic components etc.).. So too is another person who sets up the intersection, and perhaps, through these elements make the intersection as possible. The entire clinic is directly dependent on the intersection. May have the mastery of knowledge and practice of clinical philosophy, but all this will not be useful if the quality is bad at the intersection of clinical activity. "When I mention the good quality of intersection I will be referring to empathy, harmony, harmony, friendship, mutual interest in favor of a cause, basically." (Packt). Thus we define philosophy as a clinical treatment procedure applied to a particular relationship established between the clinician and philosopher sharer.
Historicity
The essential part to work with the clinical philosophy is called a story - the story of life a sharer, told by himself - that is parsed into three distinct but interrelated: Categorial Investigations, Structure of Thought and Submodes.
On Historicity, itself, a clinical philosopher will reap the life story of the person seeking it. This report, for the purpose of therapy must be made in chronological order and without logical leaps, ie avoiding that person is telling his life so that the years become tangled in a disorderly fashion, and also avoids the account is incomplete in the subject. So to understand and can close as possible to the truth of the individual, it is necessary to "rebuild it from the historicity that constitutes and this leads us to reflect on the origins of 'this' thinking and their content. Our thinking is subject to historical reasons and these shape the present: our systems of thought are not independent of their history and culture are interwoven in them. "(SPARROW). The clinical philosopher will have a sort of autobiography of the person, and it is from this point that the work takes place. Always taking into account everything that was reported is "just for her." May be an incomplete biography, with denials of the past, etc.. How can the clinical philosopher know? A priori he knows nothing. So it is avoided, at first clinic to fill the person's questions, for two basic reasons, first you may distort the reporting of the person. Ask about issues that were not addressed by it can often happen that, divert a person's history as she understands, turning into a story that will serve to respond to the therapist. The philosopher trying to force an intervention may cause an "existential carnage" in person. We know nothing of the person ahead of us. One of the few certainties we have is whether we should just negotiate a possibility of dialogue, whether through actual conversation, or photographs arranged chronologically and commented on by the person, or another form of expression that that person possesses. Often it is the only way that the philosopher has.
Categorial Investigations
In Categorial Investigations, the first part of the clinic we refer ourselves to the teachings of Aristotle (384-322. BC) and Kant (1724-1804). In this study, José Mauricio de Carvalho explicit in the theoretical foundation of the categories in philosophy and outlines a possible reading done by Lucio Packter to the applicability of Philosophy in Clinical Categories:
Categories is an ancient concept in philosophy. In ancient Greece, Plato understood category as the determinations of reality and the concepts used to understand it. Aristotle calls the ways in which categories can be conceived. (...) Over time, the concept has undergone major changes in the modern era, the German philosopher Emmanuel Kant changed the way of referring to the category. He no longer speaks in the same predicate of things, but the way in which consciousness organizes the knowledge of things. (...) Edmund Husserl considers categories as concepts that explain aspects of different regions of reality. He understands that the world put in consciousness appears in the form of strata, where each has its categories explainers, ie how the consciousness understands that part of reality. (...) Lucio Packter 
speech categories as predicates of being, remembering what Aristotle had said, but it is clear from what he says there is similar to the concept elaborated by Husserl. While I am speaking of the categories in the way they are considered in formal logic, the assumption of the designer's philosophy is that clinical categories who provide help the sharer 'an intimate understanding of the mode of being in the world of people, always subject to the quality of intersections. '"(OAK). : somatório de singularidades que acompanham uma situação, 3) Lugar : mensura-se como a pessoa sente (sensações) e pensa (idéias) a propósito do ambiente que está inserida, 4) Tempo : Qual a relação entre o tempo convencionado eo subjetivo e 5) Relação : é o comportar-se de determinada maneira em relação a determinada coisa. Thus the clinical philosophy will use up to five categories as a way of locating an existential one: 1) Immediate and Ultimate Subject: What drives a person to seek medical philosopher, 2) Condition: sum of singularities that accompanies a situation, 3) Place: measures as the person feels (feelings) and think (ideas) concerning the environment that it operates, 4) Time: What is the relationship between the time agreed and the subjective and 5) Value: is behaving a certain way for a certain thing. With surveys categorical clinical philosopher will have the ability to locate the person in an existential moment for her reported. "Everything in Clinical Philosophy, is evaluated from the specific person. Our method is to monitor the historicity of that which we demand, taking a phenomenological approach in order to understand how to be the person, their issues, their context, seeking to intervene as little as possible in this story, but realizing that it will be presenting from the intersection clinical person. "(AIUB). The categorical examinations end when the clinical philosopher knows how to identify and contextualize, with a great approach, the information the person gives you.
Structure of Thought
The next step is the clinic's philosophy when the philosopher is to investigate the clinical Structure of Thought (EP) of the person. This structure is how the person is existentially. It is how all their lives (religious, ethical, social, etc.). Associate on you. If, the categorial examinations were performed properly, this procedure is now easy to development.
The Structure of Thought consists of thirty topics that identify the various relationships resulting from these and the various relationships established between the person and the outer and inner worlds. For example, on a topic (how the world looks ...) will be placed on anything that the person reported about the world she inhabits. In Topic 2 (What do you think of yourself) arises everything the person talked about what she thinks of herself. The Topic 4 (Emotions) will contain all the emotions of the person: love, forgiveness, hatred, love, sadness. In Topic 5 (Pre-Courts) will be placed all the truths that person has before a live event, are judgments a priori. This relationship extends to complete 30 Topics. These are insufficient for understanding the structure of a person, but it happens that the threads interact, becoming topics with characteristics that interacted. The person will not seek clinical philosopher claiming to be a clash between the topics 1, 4:05. Will probably find him saying he was feeling a great void in his heart, a headache that does not pass, in the longer makes sense, etc.. It is for the clinical philosopher identify these shocks, conflict, bad associations among topics of the person.
It is worth remembering that for Clinical Philosophy no normal x abnormal, there is disease x normality. If a person excised, killed, set aside a topic like 4 (emotions) of your life, does not mean it is abnormal, sick, repressed or any other label. It just means that, given that this person has experienced this happened. Perhaps this is a form of it being well subjectively, without feelings without love without hate. Perhaps this is the only way she found to live after suffering all they could bear. Who knows to judge, criticize, say what she should do? Who lived in the skin of that person to state that she must release your emotions, get in touch with your fears and pains in order to live better? Maybe by doing so we are committing a crime existential. The clinical philosopher must seek to understand all the parties or the parties to the whole.
Clinical Philosophy existentially exercise will search the person, opening paths between the existential tangles as the paths of the person, as the contingencies of its own, as the opportunities that are forecast and build.
TAKE 2 - CINEMA
Think how much information is in a movie. There is an adage that a picture is worth a thousand words. What then of a film where every second is composed of 24 images, which gives us an average of 172.8 million words per film. But life is not as mathematizable so each person sees a movie with your eyes, which leads the dialogue to thousands of possibility. One of it is this that I intend to present, the intersection between cinematic art and practice of therapy based on philosophy.
Allow me a preamble. It is interesting to imagine the fascination which should have aroused the magic of shadow in the first men. It is not difficult to imagine our forefathers in the cave waving their hands in the rays of the sun and reproducing moving pictures on the walls. Maybe this memory has covered human history and, as in speech Menezes, arrived in the Chinese and Javanese, 6000 years BC when they came to create the spectacle of the shadows. In ancient Greece, the knowledge of optical principles is attributed to Aristotle (384 BC - 322 BC), when, seated under a tree, he noticed the image of the sun during a partial eclipse, projecting into the soil in a half moon shape when its rays passed through a small hole between the leaves. Also noted was that the smaller the hole, the sharper the picture was. It was the harbinger of photography, it is worth remembering that this word of Greek origin means "writing with light." Were also important steps in the prediction of photography research in optics of Euclid (360-295 BC), Archimedes (287-212 BC) and Ptolemy (85-165 AD). In the Renaissance, Leonardo da Vinci (1452-1519) can be considered the first to get a sense of joint cinematic phenomenon. Demonstrated this through his "dark room" - a closed box with one of its walls made of glass and the opposite wall and the center, a small hole that allows passage of light and reflects on matte wall, in reverse, an image of the object that lies in front of that small opening, thus replicating the experience described by Aristotle. Among the precursors of fundamental importance to the technical development of cinema we can cite the Jesuit Athanasius Kirchner (1601-1680), inventor of the magic lantern, which could be the opposite to the darkroom of Da Vinci, the torch had a cylindrical shape, lit the candle , projecting images on a glass slide.
The search for moving images is developed among scientists of the nineteenth century. In the late English Eadweard James Muybridge (1830-1904) sets up a complex device with twenty-four cameras to analyze the gallop of a horse. The Frenchman Etienne-Jules Marey (1830-1904) creates the "photographic gun" capable of taking twelve photos in a second, is used to photograph and analyze the flight of birds. Looking in both cases, fix the quick movements that human eyes can not perceive. On December 28, 1895, 
in Paris, was the first public viewing of the film. The brothers Auguste (1862-1954) and Louis Lumiere (1864-1948) designed some short films. One movie in particular stirred the audience L'arrivée d'un train en gare de la Ciotat (Arrival of the Train Station at Ciotat), which, although made with a camera standing in black and white and without sound, caused a commotion the public who attended. The film reproduced the arrival of a train station, filmed so that one could discern the movement of the train until it fill the screen as if it were to invade the projection room. It is said that the public was shocked, given the fact that protruded. Surely all had traveled or seen a train, the picture on display was in black and white and did not produce sound, it was not a real train, why bolt? It was the illusion that, as Bernadette, "Seeing the train on the screen as if it were true. It seems so true - although we know that is a lie - that gives to pretend, as does the film, which is true. " That was the great sense of Georges Melies (1861-1938), a magician and a man of 
theater, he saw a possibility of entertainment in this new invention. But was soon discouraged by the Lumiere brothers, for they saw that device only capable of reproducing the movements, a purely scientific. Méliès got a prototype of the English cinematographer Robert W. Paul enthusiastically filmed the daily life of Paris and made some movies . One of his most famous films was performed in 1902, Le Voyage dans la lune (Trip to the Moon) which used techniques of double exposure film's innovative special effects for the time. In 1967, Octavio Cortázar (1935-2008) had first proposed by a documentary that shows the film Modern Times (1936) Charlie Chaplin to the people of rural 
Cuba. The reaction of people compare the amazement that awakens us to think. The wonder of the projected image, another world above, the empathy of the character, making that experience the world population Chaplinesque. They are movements that make us perceive the passage of the shadows of our ancestors to theaters. The film made the dream of moving image, the reproduction of reality.
Walter Benjamin, in his text The Work of Art (1938), portrays a very happy the meaning of cinema. Tells us: "What characterizes the film is not only the way in which man presents himself to the device, it is also the way, thanks to this device, it represents itself to the world around you." It is with this premise that we, as philosophers, clinicians, entering the screening room.
TAKE 3 - GO TO THE CINEMA CLINIC PHILOSOPHY
Having participated in some meetings of Philosophy Clinic, have exposed an experiment was conducted in conjunction with Olga Hack, a professor at the Institute Epiphany, Brasília, on the possibility of using movies as teaching materials for the teaching of Clinical Philosophy. This proposal began to germinate when, during our training course in clinical philosophy, we were introduced to several films as a means of deepening our theoretical learning. In its first edition, the book "Clinical Philosophy - Propaedeutics" (1997), Packter awakened us to this possibility of using the media, the end of the book is a list of suggested films for the training of clinical philosopher. In 2001, Nichele releasing the book "Compendium of Clinical Philosophy," where there was concern relating to films in teaching the topics of the structure of thought and submodes that most stood out in films. These two works in the guides to begin your search. We put ourselves to look at other films with a dual purpose, to mount an extension course, this work extended to our training classes for philosophers clinical exercise where the knowledge of the topics and submodes seized with the films selected for this purpose. For us there were still some questions to be answered: How to display the clinical philosophy of theory and practice.? How to transpose data in phenomenological data epistemological (empirical)?
Even Plato's Cave
We think the cinema as a supposed model of the real. Use the example of the Myth of the Cave from Plato to distinguish the intelligible world of ideas, - (for we the real) World-sensitive images of ideas - (for us, the cinema). Cohen reminds us in the work-Seat Elements of Film theory: "The cinema is at once universal testimony. Serving as serves to transform the representation of the life of man and the world itself, is the creator of man, creator of the world and install a representation of life in order incomparable. " The Cave of Plato, that sense can be seen as a first idea of representing the operating modes of the proposed use of films in the teaching of Clinical Philosophy.
What is the cave wall but a large screen on which are projected the shadows of the real figures that pass through the opening where a fire (light) provides the clarity to what is happening inside, what I see may be determined by my projection angle of vision and what I do within my historicity. A film that may well illustrate a collection of history, saved their proper proportions, is short by Jorge Furtado, " This is not your story , "it will see the story of Christmas, told in chronological order, with apparently minimal intervention of the director. This film is also interesting to identify the topics one (as the world seems to me), 2 (what he thinks of himself) and 5 (pre-judgments). When she describes all the external context in which it was born, or even faces relations and subjective truths which were created from the relationships established by Noel.
Choice Movie
As previously mentioned, we started our choice through two lists in the works of Lucio and Packter Nichele Paulo. Yet for the other movies that have come and will incorporate up to our studies as it gives the choice of the same? First time in a subjective way. We work with a selection of films that, in our individual analysis covers what we demonstrate in the course. Thus we come to the second point, what are the factors that interest us: the characters, speech, posture, intersections, prominent topics, the informal submodes used, ie the factors that will make up the concept to be demonstrated. Hitting two outstanding characteristics pro Cabrera in his book "The Cinema Think." The Pathos Logos = = frills and understanding of the concept to show.
Therefore, given the choices "will try to merge concepts underlying theories of historicity: Interpretation of facts, concepts, events reported in the movies of the lives of characters and their current and future implications within the context exposed. Phenomenology as shown in the images in the form of acts and gestures into actions and representations of characters that are available in the scenarios shown in the movies: The investigation of what appears, successive divisions in search of information of intentionality. Empiricism contextualized in order to survey the experiences of the character from one context and another that had been created to elucidate the facts recounted in a commencement historicist. Analytical language, while researching the relationship between word and concept of the speeches of the characters, for the construction of previous and subsequent act. And Epistemology as a way to transfer in and out of what I perceive and introject to know in a continuous exchange: how to search the content of the terms transposed. Formal Logic: Used in testing categorical present in the construction of each scene. "(HACK & SILVA).
Some examples: Film & Clinical Philosophy
To illustrate the use of films in Clinical Philosophy withdrew the book "Clinical Philosophy and Film: a theoretical and practical understanding through Film" written by me and Olga Hack, some example of this possibility.
Patch Adams - Love Is Contagious (1998) - Original title: Patch Adams, USA, Director: Tom Shadyac, Robin Williams (Patch Adams), Harold Gould (Arthur Mendelson), Michael Jeter (Rudy), Monica Potter (Carin Fischer), Philip Seymour Hoffman (Mitch), Bob Gunton (Dean Wallcott), Daniel London (Truman Schiff) and Peter Coyote (Bill Davis).
The film is based on the life of Dr. Patch Adams who, in fictionalized form, as he sought to portray, and somehow got a new way of working in medicine. A look at the human doctor to patient. An ethical position of the other. "In parallel we performed between the film Patch Adams and clinical philosophy of action is the way in which they resemble. For example: in the ways being and recognize the person to whom is a caring and necessary care to any kind of treatment, a willingness to implement in exchange value. Both parties are subject to coalesce the intersection, a process that occurs between singularities between unique beings, within the built environment for giving and receiving in causes, as a symbol of plasticity historicist and construction, in pure becoming. Acreditar na capacidade de cada humano em ser diferente em suas necessidades parece algo inusitado e requerido em todos os instantes do filme, mostrar os atos de humanidade pautados na ética para com o outro desenhado por Patch é um dos nossos preceitos norteadores na Filosofia Clínica.”
Colcha de Retalhos (1995) - Título Original: How to Make an American Quilt , Estados Unidos, Direção: Jocelyn Moorhouse , com Wynona Ryder (Finn Dodd) Anne Bancroft (Glady Joe Cleary), Ellen Burstyn (Hy Dodd), Kate Nelligan (Constance Saunders), Alfre Woodard (Marianna), Jean Simmons (Em), Kate Capshaw (Sally), Dermot Mulroney (Sam) Maya Angelou (Ana), Lois Smith (Sophia Darling).
Finn Dodd is a graduate student who retires to the ranch of his grandmother, inside the United States, in order to complete his thesis. In making this trip Finn returning to the memories of their childhood and begin to share the memories of the friends of his grandmother. Like a patchwork of each character identified in the quilt that builds a philosophical school. "In many instances we see the clinical philosophy as a large patchwork quilt. One occurs in the expanded vision of his constitution to join in its reasoning part of many schools, it presents itself as a therapy based on the observation of philosophical fragments inserted to compose your topics, sometimes based on knowledge of the philosophers, sometimes at the bases of a practical context of everyday life. Were several years to study them and get them as part of life that is truly in their reflections, these men were closely linked to his writings and human life. (...) In the complete exposure of the quilt we find the impression of acquired knowledge and improvement, which will appear at the unveiling of every moment of the structural context brought to light in the constancy of the meetings shared. Differences between time, relationship, circumstance and place draw a categorical significance at harvest, leading him to the threshold of being stripped and desencoberto the moment of its happening, with the effect shown by the revival of fact. (...) Here, we will work the four lines of basic clinical philosophy through four characters: the Historicity (Finn), which aims at the interpretation of facts, concepts and events, analyzing the past and its contemporary and future needs; Phenomenology (Ana) where is investigating what appears, what is experienced, the man is not only history, but their circumstances are and also be made, the Empismo (Sophia), the composition of the stick to the sensory experience, where our ideas come experiences of the senses and Analytical Language (Glady) in which researches the relationship between the concept and term, which can live and say, where we sought the accuracy of the relationship between the idea and the word for a better understanding of what the other wants us forward in their meanings. "
Baleias de Agosto (1987) - Título Original: The Whales of August , t empo de Duração: 91 minutos; Direção: Lindsay Anderson; Roteiro: David Berry, baseado em peça teatral de David Berry; Música: Alan Price; Fotografia: Mike Fash; com: Bette Davis (Libby Strong); Lillian Gish (Sarah Webber); Vincent Price (Sr. Maranov); Ann Sothern (Tisha Doughty); Harry Carey Jr. (Joshua Brackett); Frank Grimes (Sr. Beckwith); Margaret Laddy (Libby – jovem);Tisha Sterling (Tisha – jovem); Mary Steenburgen (Sarah – jovem); Frank Pitkin (Randall); Mike Bush (Randall – jovem)
O filme Baleias de Agosto retrata o crepúsculo da vida de duas irmãs e sua relação com uma comunidade de idosos. Neste exemplo trabalhamos as categorias utilizadas na Filosofia Clínica: “Assunto, Circunstância, Lugar, Tempo e Relação.
“O panorama desenhado e estruturado em análise neste capítulo, nas vias de montagem de uma compreensão, se reproduz com as histórias de vida deixadas no filme As Baleias de Agosto. As duas irmãs, Libby e Sarah, nos servem para demonstrar exemplificando, como efetuar a leitura e visualização dos detalhes que compuseram para a reconstituição das experiências vivida, como foram emolduradas por elas, as cinco categorias utilizadas pela Filosofia Clínica: assunto (imediato e último), circunstância, lugar, tempo e relação. O Filósofo Clínico ao partilhar estes relatos, forma um conceito estruturado do mundo da outra pessoa: uma representação para si mesmo da representação do outro . (PACKTER, 2000) Através da “colheita categorial” o filósofo conhecerá a situação existencial, a maneira como a pessoa vivencia a si mesmo, sua época, costumes, sociedade. Quando as cinco categorias são mescladas e começam a compor um quadro visual do outro, temos uma primeira localização existencial da pessoa.”
Buscamos elaborar um levantamento das categorias como primeiro condutor de análise via historicidade. Um entendimento dos conceitos filosóficos que fundamentam as Categorias utilizadas na Filosofia Clínica. Uma correlação possível entre a prática ea teoria nos Exames Categorias, representadas no campo prático na fala das personagens do filme ea criação de um envolvimento observacional entre o ato ser partilhante e Filósofo Clínico na Colheita Categorial.
Assim, essa forma de apresentar nosso conhecimento através desta correlação realizada através dos filmes eo princípio teórico da Filosofia Clínica, acreditamos ser possível dar uma maior claridade à terapêutica em sua linguagem constitutiva, abarcando tanto nossa face existencial entre a filosofia mater, que nos trouxe os a priori de nossos conhecimentos, aliando-os e adaptado-os aos moldes e conceitos da clínica filosófica.
Bibliografia Cinema
BERNADET, Jean-Claude. O que é cinema . São Paulo: Editora Brasiliense, 1985.
CARRIÈRE, Jean-Calude. A Linguagem Secreta do Cinema . Rio de Janeiro: Nova Fronteira, 2006.
COSTA, Flávia Cesarino. O primeiro cinema. Rio de Janeiro: Azougue Editorial, 2005.
COUTINHO, Evaldo. A imagem autônoma. São Paulo: Ed. Perspectiva. 1996.
FERREIRA. Jairo. Cinema de invenção. São Paulo: Limiar.2000.
LOGGER, Pe. Guido (SS.CC.). Elementos de Cinestética. Rio de Janeiro: AGIR editora, 1959.
MAY, Renato. A Aventura do Cinema . Rio de Janeiro: Ed. Civilização Brasileira, 1967.
MENEZES, José Rafael de. Caminhos do Cinema. Rio de Janeiro: AGIR editora, 1958.
METZ, Christian. A Significação no Cinema . São Paulo: Ed. Perspectiva. 2006.
SILVEIRA, Walter. Fronteiras do Cinema . Rio de Janeiro: Tempo Brasileiro. 1966.
TURNER, Graeme. Cinema como prática social. São Paulo: Summus Editorial. 1997.
Bibliografia Filosofia Clínica
AIUB, Monica – Para Entender Filosofia Clínica . Wak Editora. Rio de Janeiro. 2004
____________ – Sensorial & Abstrato . Edições APAFIC. São Paulo. 1998
ARISTÓTELES – Tópicos . (Os Pensadores). Abril Cultural. São Paulo. 1978
BENJAMIN, Walter. A obra de arte na época de suas técnicas de reprodução . São Paulo: Abril Cultural, 1980.
BUBER, Martin. Eu e Tu . Cortez e Moraes, SP. 1979.
CABRERA, Julio – O Cinema Pensa – uma introdução à filosofia através dos filmes . Rocco. 2006
CARVALHO, José Mauricio. Estudos de Filosofia Clínica – uma abordagem fenomenológica. Curitiba: Ed. Ibpex. 2008.
CARVALHO, José Mauricio. Filosofia Clínica, estudos de fundamentação. São João del Rei: UFSJ. 2005.
GOYA, Will. A Escuta eo Silêncio. Goiânia: Editora da UCG. 2008.
HACK, Olga. Historicidade e Tempo: Caminhos para um bom envelhecimento, exemplificados no filme Conduzindo Miss Daisy in ASSUMPÇÃO, Luís Otávio Teles (org.) O Idoso eo Cinema. Brasília: Ed. Universa, 2007.
____________ – Historicidade e Exames Categoriais . (n/publicado)
HACK, Olga e SILVA, Márcio José Andrade da. Filosofia Clínica e Cinema: uma compreensão Teórico e Prática através de Filmes. In Revista Informação Dirigida n° 3 (janeiro-junho) Instituto Packter. 2006.
______________________________________. Filosofia Clínica e Cinema: uma compreensão Teórico e Prática através de Filmes. (no prelo).
KRAUSE, Idalina. A arte de compartilhar. Porto Alegre: Ed. Evangraf. 2007.
PACKTER, Lúcio – Filosofia Clínica, Propedêutica . Porto Alegre: AGE Editora. 1997
________________. Passeando pela Vida. Florianópolis: Garapuvu.1999.
________________. Ana eo Dr. Finkelstein – um caso tratado com filosofia clínica. Rio de Janeiro: WAK. 2006.
________________. Semiose – aspectos traduzíveis em clínica. Fortaleza: Gráfica e Editora Fortaleza. 2002.
________________. Sinais. Porto Alegre: Ed. Biblioteca do Instituto Packter. 2005.
________________. Filosofia Clínica – a filosofia no hospital e no consultório. Porto Alegre: Ed. Biblioteca do Instituto Packter. 2008.
PARDAL, Mário Luiz. Filosofia como Terapia – uma introdução ao Estudo da Filosofia Clínica. Campinas: Centro de Filosofia Clínica Campinas. 2001.
PAULO, Margarida Nichele – Compêndio de Filosofia Clínica. Imprensa Livre.
PLATÃO – Diálogo. (Os Pensadores). Abril Cultural. São Paulo. 1978
SCHOPENHAUER, Arthur – O Mundo Como Vontade e Representação. (Os Pensadores). Abril Cultural. São Paulo. 1979
SILVA, Márcio José A. – Filosofia Clínica e Cinema . www.institutopackter-bv.com.br
STRASSBURGER, Hélio. Filosofia Clínica – poéticas da singularidade. Rio de Janeiro: E-Papers. 2007.
Sítios Virtuais
http://www.filosofiaclinica.com.br (Instituto Packter – informações sobre a Filosofia Clínica)
http://www.acafic.com.br/blog (Associação Catarinense de Filosofia Clínica – informações sobre Filosofia Clínica e Cinema)
http://www.filosofiaclinicaonline.com.br (curso de filosofia clínica on line – primeiro módulo gratuito)
http://www.youtube.com/user/luciopackter (Canal Youtube de Lucio Packter contendo programas referente à Filosofia Clínica no dia a dia)
http://topicosespeciais.wordpress.com/category/cinema (história do cinema com imagens dos precursores dos aparelhos cinematográficos)
http://www.webcine.com.br/historia1.htm (relata a história do cinema)
http://www.institut-lumiere.org/francais/films/1seance/accueil.html (francês) (contém os primeiros filmes exibidos publicamente, além dos cartazes de divulgação)
http://www.expo-marey.com/indexFR.htm (francês) (exposição sobre Ettiene-Jules Marey)
http://www.geocities.com/melies61/online_movies.html (inglês) (filmes disponibilizados de Méliès)
publicado originalmente na RUA – Revista Universitária do Audiovisual (UFSCar). Especial nº 2 – O Audiovisual sob o olhar das ciências humanas. 2008
Recent Comments