Journal of Aesthetics and Art Criticism 67 (3):409-420 (2009)
|Abstract||I argue for a position close to what Paisley Livingston calls the bold thesis of cinema as philosophy. The bold thesis I defend is that films can make innovative, independent philosophical contributions by paradigmatic cinematic means. I clarify the thesis before presenting what Livingston thinks is a fatal problem for any similar position—the problem of paraphrase. As an example in defense of the bold thesis, I offer the "For God and Country" sequence in Sergei Eisenstein’s October (1928). I argue that this scene offers an analogical argument similar in form to what some think Nietzsche presents in the Genealogy of Morality. Moreover, I argue that the argument presented in October is independent, could have been innovative, and is presented via the paradigmatic cinematic means of montage.|
|Keywords||film and philosophy art and knowledge Nietzsche Eisenstein Bold Thesis filmosophy|
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