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  1. A Garden of One's Own, or Why Are There No Great Lady Detectives?Shelby Moser & Michel-Antoine Xhignesse - 2023 - Feminist Philosophy Quarterly 9 (1):1-20.
    Although the character of the “lady detective”is a staple of the cozy mystery genre, we contend that there are no great lady detectives to rival Holmes or Poirot. This is not because there are no clever or interesting lady detective characters, but ratherbecause the concept of greatness is sociallyconstructed and, like coolness, depends on public acclaim and perception. We explore the mechanics of genre formation, arguing that the very structure of cozy mysteries precludes female greatness. To create a “great”character,theauthor cannot (...)
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  2. The Aesthetic Achievement and Cognitive Value of Empathy for Rough Heroes.William Kidder - 2022 - Journal of Value Inquiry 56 (2).
    Modern television is awash in programs that focus on the rough hero, a protagonist that is explicitly depicted as immoral. In this paper I examine why audiences find these characters so compelling, focusing on archetypal rough heroes in two programs: The Sopranos and Breaking Bad. I argue that the ability of rough-hero programs to engender a certain degree of empathy for morally deviant characters despite viewers' resistance to empathizing with these characters' moral views is an aesthetic achievement. In addition, I (...)
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  3. Sometimes I Am Fictional: Narrative and Identification.Alfonso Muñoz-Corcuera - 2022 - Philosophical Papers 51 (3):403-425.
    Most analytical philosophers consider that we cannot identify with fictional characters in a literal sense. Specifically, Carroll and Gaut argue that doing so would imply a high degree of irrationality. In this paper I stand for the claim that we can identify with fictional characters thanks to a suspension of disbelief. First, I rely on narrative theories of personal identity to propose a model of how the process of identification might happen in real life. Then, I explain how this model (...)
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  4. Tony “Two-Toes”: the pragmatics of nicknames in films.Kristina Šekrst - 2022 - Quarterly Review of Film and Video.
    Films frequently employ nicknames not only for villains but also for non-criminal characters. In this paper, I present a classification of nicknames used in films, along with various examples, mostly from crime-related films. I argue that the use of nicknames in films is important not for the sake of reference, but for the sake of an additional narrative told by the nickname as a shorthand description of a character's background (cf. Tony “Two-Toes”, “Dirty” Harry, “Doc” Erwin or “Hatchet” Harry Lonsdale). (...)
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  5. Barbarous Spectacle and General Massacre: A Defence of Gory Fictions.Ian Stoner - 2020 - Journal of Applied Philosophy 37 (4):511-527.
    Many people suspect it is morally wrong to watch the graphically violent horror films colloquially known as gorefests. A prominent argument vindicating this suspicion is the Argument from Reactive Attitudes (ARA). The ARA holds that we have a duty to maintain a well-functioning moral psychology, and watching gorefests violates that duty by threatening damage to our appropriate reactive attitudes. But I argue that the ARA is probably unsound. Depictions of suffering and death in other genres typically do no damage our (...)
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  6. Seeing Oneself Speak: Speech and Thought in First-Person Cinema.David Sorfa - 2019 - JOMEC Journal 13:104-121.
    Cinema struggles with the representation of inner-speech and thought in a way that is less of a problem for literature. Film also destabilises the notion of the narrator, be they omniscient, unreliable or first-person. In this article I address the peculiar and highly unsuccessful cinematic innovation which we can call the ‘first-person camera’ or ‘first-person’ film. These are films in which the camera represents not just the point-of-view of a character but is meant to be understood as that character. Very (...)
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  7. Diane, I am Now Upside Down.Kristopher G. Phillips & Veronica McMullen - 2018 - In Richard Greene & Rachel Robison-Greene (eds.), Twin Peaks and Philosophy: That's Damn Fine Philosophy! Popular Culture and Philosophy. pp. 165-178.
    Using Twin Peaks' Agent Dale Cooper as an example, we explore the paradox of fiction. Employing resources from Aimee Thomasson's account of fictional characters in conjunction with some research on parasocial interaction, we make offer a potential solution for the paradox.
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  8. The Finale of AI: Artificial Intelligence.Alessandro Giovannelli - 2017 - Film and Philosophy 21:1-16.
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  9. A Miscast of Character: Actors, Characters, & Character Actors.Mag Uidhir Christy - 2016 - In Iskra Fileva (ed.), A Question of Character. Oxford University Press. pp. 444-458.
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  10. The Existential Significance of Cinema in Educational Administration.Seamus Mulryan & Stephanie Mackler - 2015 - Journal of Aesthetic Education 49 (2):1-19.
    This article considers the ramifications of the persistently negative representations of educational administrators in popular film and television. It begins with the argument that Hollywood’s pejorative portrayals of principals not only reflect something about what it already means to be an educational administrator, but they also serve a pedagogical role in creating educational administrators. While some scholarship in film studies and cultural studies aptly describe representations of educational administrators, much of this work relies on implicit philosophical assumptions that this article (...)
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  11. The Twisted Femmes Fatales of Christopher Nolan.Kania Andrew - 2014 - Aesthetics for Birds.
    Philosophical reflections on the trope of the femme fatale in the films of Christopher Nolan.
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  12. Empathy for the devil: Why on earth do we love Barney Stinson?Bence Nanay - 2014 - In Lorenzo Van Matterhorn (ed.), How I Met Your Mother and Philosophy. Chicago: Open Court.
    The problem of why we identify with Barney Stinson on the show How I Met Your Mother.
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  13. Identification in the Cinema.R. Allen - 2012 - British Journal of Aesthetics 52 (2):197-200.
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  14. Empathy and Identification in Cinema.Berys Gaut - 2010 - Midwest Studies in Philosophy 34 (1):136-157.
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  15. Cognitive Value and Imaginative Identification: The Case of Kubrick's Eyes Wide Shut.Alessandro Giovannelli - 2010 - Journal of Aesthetics and Art Criticism 68 (4):355-366.
  16. Film spectatorship: A reply to Murray Smith.Richard Allen - 1998 - Journal of Aesthetics and Art Criticism 56 (1):61-63.
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