David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
The belated genre classiﬁcation, “ﬁlm noir,” is a contested one, much more so than “Western” or “musical.”2 However, there is wide agreement that there were many stylistic conventions common to the new treatment of crime dramas prominent in the 1940s: grim urban settings, often very cramped interiors, predominantly night time scenes, and so-called “low key” lighting and unusual camera angles.3 But there were also important thematic elements in common.Two are especially interesting. First, noirs were almost always about crime, usually murder, often cold-blooded, well-thought-out murder. Even more surprisingly, the larger social context for such deeds, the historical American world in which they take place, was itself just as bleak, amoral, and ugly as the individual deeds and the characters themselves. Secondly, and perhaps most distinctively, many ﬁlms challenged, in sometimes startling ways, many of our most familiar assumptions about psychological explanation. In ways that seemed both mysterious and credible, characters who had been righteous, stable, and paragons of responsibility all their adult lives were seamlessly and quite believably transformed in a few seconds into reckless, dangerous, and even murderous types, all suggesting that anyone, in the right (or wrong) circumstances, was capable of almost anything, and that one’s own sincere avowals of basic principles could be ludicrously self-deceived.4 This last theme—that a virtuous character can be as much a matter of moral luck (of having avoided by mere chance the particular temptation that would reveal the fragility of one’s principles) as an individual accomplishment—is connected with an even larger philosophical issue
|Keywords||No keywords specified (fix it)|
No categories specified
(categorize this paper)
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library||
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
Robert B. Pippin (2011). Fatalism in American Film Noir: Some Cinematic Philosophy. University of Virginia Press.
Mark T. Conard & Robert Porfirio (eds.) (2006/2007). The Philosophy of Film Noir. University Press of Kentucky.
Brian E. Butler (2010). Blackness is Noir: Flory's Philosophical Investigation of the Black Noir Genre in Film. [REVIEW] Film-Philosophy 14 (1):332-336.
Elizabeth A. Linehan (2005). Crime and Catholic Tradition. Proceedings of the American Catholic Philosophical Association 79:61-72.
Daniel Frampton (2009). Sublime Confusion. The Philosophers' Magazine 47 (47):73-78.
Romayne Smith Fullerton & Maggie Jones Patterson (2006). Murder in Our Midst: Expanding Coverage to Include Care and Responsibility. Journal of Mass Media Ethics 21 (4):304 – 321.
John Marmysz (1996). From Night to Day: Nihilism and the Living Dead. Film and Philosophy 3:138-143.
I. C. Jarvie (1987). Philosophy of the Film: Epistemology, Ontology, Aesthetics. Routledge & Kegan Paul.
Robert van Es (2003). Inside and Outside the Insider: A Film Workshop in Practical Ethics. [REVIEW] Journal of Business Ethics 48 (1):89-97.
Robert Van Es (2003). Inside and Outside "The Insider": A Film Workshop in Practical Ethics. Journal of Business Ethics 48 (1):89 - 97.
Added to index2011-07-28
Total downloads20 ( #90,207 of 1,102,037 )
Recent downloads (6 months)2 ( #192,049 of 1,102,037 )
How can I increase my downloads?