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Philosophy of Film

Edited by Aaron Smuts (Rhode Island College)
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Summary

"Philosophy of Film" is often used to describe a few different kinds of work. Two are most important. We should distinguish between philosophy in or through film, and the philosophy of or about film. When one does philosophy through film, one seeks to either illuminate some philosophical idea or to make progress on some philosophical issue through a discussion of a movie. One might even attribute the philosophical work to the film. We might call this philosophy in film. In contrast, the philosophy of film is the philosophy about film.  It asks about the nature of film, our experience of it, how it works its magic on us, and what limitations it might have. The analytic philosophy of film is principally issue driven. One of the issues concerns the philosophical limits of film, whether philosophy in film is possible. This mid-level category is home to both kinds of work, philosophy through film and the philosophy of film.

Key works

Carroll's Philosophy of Motion Pictures and Gaut's A Philosophy of Cinematic Art are two leading monographs offering opposing views on a wide range of issue in the analytic philosophy of film.

Introductions

Livingston and Plantinga's Routledge Companion to Philosophy and Film is by far the best source for survey articles on topics and figures in the area. Thomson-Jones's Aesthetics and Film provides a clear, brief introduction to several important topics in the area.

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  1. Michael Abecassis (2009). Opening the Door to the Subconscious: Gwynne Edwards (2005) A Companion to Luis Bunuel. Film-Philosophy 10 (1).
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  2. Michael Abecassis (2007). L'Atalante Lost and Regained: Michael Temple (2006) Jean Vigo (French Film Directors). Film-Philosophy 11 (3).
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  3. Michael Abecassis (2004). Le Petit Theatre de Renoir, on Martin O'Shaughnessy Jean Renoir. Film-Philosophy 8 (1).
    Martin O'Shaughnessy _Jean Renoir_ Manchester and New York: Manchester University Press, 2000 ISBN 0719050626 hb; 0719050634 pb 251 pp.
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  4. Eduardo Abrantes (2006). The Principle of Revelation : Catherine Lupton (2005) Chris Marker: Memories of the Future. Film-Philosophy 10 (1).
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  5. Gadi Algazi (2008). Norbert Elias's Motion Pictures: History, Cinema and Gestures in the Process of Civilization. Studies in History and Philosophy of Science Part A 39 (3):444-458.
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  6. Rowena Santos Aquino (2011). Dina Iordanova, David Martin-Jones and Belén Vidal (2010) Cinema at the Periphery. Film-Philosophy 15 (2):106-112.
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  7. H. Bacon (2007). How Films Behave and Narrate. Film and Philosophy 11:29.
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  8. Jon Baldwin (2003). Other Bother: The Alien in Science Fiction Cinema, on Aliens R Us: The Other in Science Fiction Cinema , Edited by Ziauddin Sardar and Sean Cubitt. Film-Philosophy 7 (3).
    _Aliens R Us: The Other in Science Fiction Cinema_ Edited by Ziauddin Sardar and Sean Cubitt London: Pluto Press, 2002 ISBN 0-7453-1544-5 (hb) 0-7453-1539-9 (pbk) 208 pp.
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  9. Karen Bardsley (1998). The 'I'of the Beholder'. Film-Philosophy 2 (1).
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  10. Martin Barker (2006). Envisaging 'Visualisation': Some Challenges From the International Lord of the Rings Audience Project. Film-Philosophy 10 (3).
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  11. Daniel Barnett (2004). A Deceptively Slender Volume, on Nathaniel Dorsky Devotional Cinema. Film-Philosophy 8 (2).
    Nathaniel Dorsky _Devotional Cinema_ Berkeley, California: Tuumba Press, 2003 ISBN 1-931157-05-07 52 pp.
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  12. Robert Barry (2011). Richard Misek (2010) Chromatic Cinema. Film-Philosophy 15 (2):139-142.
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  13. Heather Battaly & Amy Coplan (2009). Is Dr. House Virtuous. Film and Philosophy 13:1-18.
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  14. André Bazin (2002). The Life and Death of Superimposition (1946). Film-Philosophy 6 (1).
    Translated by Bert Cardullo University of Michigan, Ann Arbor, Missouri, USA This essay first appeared in French in Écran Français in 1946, then was included in Volume 1 ('Ontologie et langage') of Qu'est-ce que le cinéma? (Paris: Éditions du Cerf, 1958-1962), pp. 22-30. Translated here, for the first time, with the permission of Madame Janine Bazin.
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  15. André Bazin (2002). Will CinemaScope Save the Film Industry? (1953). Film-Philosophy 6 (1).
    Translated by Bert Cardullo University of Michigan, Ann Arbor, Missouri, USA This article first appeared in French in Esprit , vol. 21 no. 207-208, October-November 1953, pp. 672-683. Translated here, for the first time, with the permission of Madame Janine Bazin.
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  16. Robert Beckford (2014). Documentary as Exorcism: Resisting the Bewitchment of Colonial Christianity. Bloomsbury.
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  17. Frida Beckman (forthcoming). Ambivalent Screens: Quentin Tarantino and the Power of Vision. Film-Philosophy.
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  18. P. Belbutowski (forthcoming). Hara-Kiri and the Aftermath of Peace in 17th Century Japan. Film and Philosophy.
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  19. Rebecca Bell-Metereau (2005). Movie-Made Memories, on Memory and Popular Film , Edited by Paul Grainge. Film-Philosophy 9 (1).
    _Memory and Popular Film_ Edited by Paul Grainge Manchester, England: Manchester University Press, 2003 ISBN 071963744 hb 0719063752 pb 261 pp.
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  20. Ralph Berets (1997). On Imagologies. Film-Philosophy 1 (1).
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  21. Briana Berg (2003). Film Theory, Psychoanalysis, and Figuration, on Endless Night: Cinema and Psychoanalysis, Parallel Histories , Edited by Janet Bergstrom. Film-Philosophy 7 (4).
    _Endless Night: Cinema and Psychoanalysis, Parallel Histories_ Edited by Janet Bergstrom Berkeley: University of California Press, 1999 ISBN 0-520-20747-5 (hbk); 0-520-20748-3 (pbk) 307 pp.
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  22. Leo Bersani & Ulysse Dutoit (2005). A Response to Patrick Ffrench and Peter Caws. Film-Philosophy 9 (1).
    Patrick ffrench 'Potential Not To Be: Bersani and Dutoit's _Forms of Being_' _Film-Philosophy_, vol. 9 no. 3, January 2005 Peter Caws 'Theory as Criticism: Bersani and Dutoitπs _Forms of Being_' _Film-Philosophy_, vol. 9 no. 4, January 2005.
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  23. Martine Beugnet (2009). The Practice of Strangeness: L'Intrus - Claire Denis (2004) and Jean-Luc Nancy (2000). Film-Philosophy 12 (1).
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  24. J. Bicknell (2007). Orientalism as Aesthetic Failure: The Sheltering Sky. Film and Philosophy 11:159.
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  25. John Bleasdale (2011). Claire Molloy (2010) Memento ; Geoff King (2010) Lost in Translation ; Gary Needham (2010) Brokeback Mountain . American Indies Series. [REVIEW] Film-Philosophy 15 (1):255-261.
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  26. John Bleasdale (2011). Venice Film Festival 2010: The Mad and the Bad and the Dangerous to Know. Film-Philosophy 15 (1):229-233.
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  27. John Bleasdale (2010). Venice Film Festival 2009: Survival of the Fittest. Film-Philosophy 14 (1):274-286.
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  28. John Bleasdale (2009). Dean A. Kowalski, Ed. (2008) Steven Spielberg and Philosophy: 'We're Going to Need a Bigger Book'. Film-Philosophy 14 (1):415-421.
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  29. John Bleasdale (2009). Now Wait for Last Year: A Report From the 65th Venice International Film Festival 2008. Film-Philosophy 13 (1).
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  30. John Bleasdale (2008). D. K. Holm (2008) Independent Cinema. Film-Philosophy 12 (2).
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  31. John Bleasdale (2002). The Unrealistic Rossellini. Film-Philosophy 6 (3).
    Tag Gallagher _The Adventures of Roberto Rossellini: His Life and Films_ New York: Da Capo Press, 1998 ISBN 0306808730 802 pp.
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  32. John Bleasdale (1999). Letting Go of David Lynch. Film-Philosophy 3 (1).
    Martha P. Nochimson _The Passion of David Lynch: Wild at Heart in Hollywood_ Austin: University of Texas Press, 1998 ISBN 0 292 75565 1 272 pp.
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  33. John Bleasdale (1999). Leone's Impure Vision. Film-Philosophy 3 (1).
    Adrian Martin _Once Upon a Time in America_ London: British Film Institute, 1998 ISBN 0-85170-554-8 96 pp.
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  34. John Anthony Bleasdale (2012). Todd Berliner (2010) Hollywood Incoherent: Narration in Seventies Cinema. Film-Philosophy 17 (1):493-496.
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  35. Sylvie Blum (1999). A State of Crisis. Film-Philosophy 3 (1).
    Phil Powrie _French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity_ Oxford University Press, 1997 ISBN 0-10-871119-0 (pbk) 203 pp.
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  36. Sylvie Blum-Reid (2005). The Passeuse?, a Response to Florence Martin's Review. Film-Philosophy 9 (2).
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  37. Christopher Bodnar (2003). The Database, Logic, and Suffering: Memento and Random-Access Information Aesthetics. Film-Philosophy 7 (1).
    The Database, Logic, and Suffering _Memento_ and Random-Access Information Aesthetic.
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  38. R. D. Boisvert & Boisvert Jr (forthcoming). Bread, Companionship, and the Ethics of Attentive Response: Marcel Pagnol's The Baker's Wife. Film and Philosophy.
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  39. Lucy Bolton (2011). Christopher Lindner, Ed. (2009) The James Bond Phenomenon: A Critical Reader . 2nd Edition. Film-Philosophy 15 (1):278-282.
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  40. Lucy Bolton (2011). Christopher Lindner, Ed.(2009) The James Bond Phenomenon: A Critical Reader. Film-Philosophy 15 (1):278-282.
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  41. Lucy Bolton (2007). Christopher Falzon (2007) Philosophy Goes to the Movies: An Introduction to Philosophy. Film-Philosophy 11 (3).
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  42. Sarah Boslaugh (2009). Maria Pramaggiore (2008) Neil Jordan. Film-Philosophy 13 (1).
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  43. T. Botz-Bornstein (2007). Tarkovsky and Benjamin: Image, Allegory, and Einfuhlung. Film and Philosophy 11:15.
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  44. Thorsten Botz-Bornstein (2012). “Film Thinks!” What About Dreams? A Reading of Daniel Frampton's Filmosophy. Film and Philosophy 17:192-203.
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  45. Thorsten Botz-Bornstein (2009). Irving Singer (2007) Ingmar Bergman, Cinematic Philosopher: Reflections on His Creativity. Film-Philosophy 14 (1):371-376.
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  46. Thorsten Botz-Bornstein (2008). Style and Substance in The Matrix : Stacy Gillis. Ed. (2005) The Matrix Triology: Cyberpunk Reloaded. Film-Philosophy 12 (1).
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  47. Thorsten Botz-Bornstein (2006). Mapping Film Studies: Symposium on Dominique Château's Cinéma Et Philosophie. Film-Philosophy 10 (2).
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  48. Thorsten Botz-Bornstein (2004). Realism, Dream, and 'Strangeness' in Andrei Tarkovsky. Film-Philosophy 8 (3).
    At the centre of theories of film form is the idea that the montage of different scenes produces cinematic time. Montage creates a conflict between different shots, and time (as a purely functional relationship between shots) arises out of montage as an abstract element.
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  49. Mark Bould (2005). If This Retrofuturistic Flu Goes On..., on Future Cinema: The Cinematic Imaginary After Film, Edited by Jeffrey Shaw and Peter Weibel. [REVIEW] Film-Philosophy 9 (3).
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  50. Kirk Boyle (2009). Reading the Dialectical Ontology of The Life Aquatic with Steve Zissou Against the Ontological Monism of Adaptation. Film-Philosophy 11 (1).
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