Online research in philosophy

This paper considers some problems with text-centered psychoanalytic and semiotic approaches to film that have dominated feminist film criticism, and develops an alternative contextual approach. I claim that a contextual approach should explore the interaction of film texts with viewers' culturally formed sensibilities and should attempt to render visible the plurality of meaning in art. I argue that the latter approach will allow us to see the virtues of some classical Hollywood films that the former approach has overlooked, and I demonstrate this thesis with an analysis of the film Christopher Strong.

The article focuses on the Russian film director Sergei M. Eisenstein’s intention to make a film of Marx’s Das Kapital according to its dialectical method, rather than its content. Eisenstein tried to find an appropriate method of visual expression with his own montage dialectics. The first part of the article analyzes Eisenstein’s intention to make the adaptation, considered in the historical context of interpretations of Marx’s main work. The second part of the article considers Eisenstein’s plans for a cinematographic rendition of Das Kapital in an attempt to create a new, ‘individual’, historical style based on a single film. The visual realization of this work was meant as an attempt to transform Marx’s ironic writing style as political expression into a film paradigm. Another pertinent point in this context is the contiguity of Eisenstein’s intended approach to Marx’s text using some Russian cinematographic styles of the time, especially comedy, satire and slapstick.

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion over the last twenty years. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticises attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal.

The idea that films can be philosophical, or in some sense 'do' philosophy, has recently found a number of prominent proponents. What is at stake here is generally more than the tepid claim that some documentaries about philosophy and related topics convey philosophically relevant content. Instead, the contention is that cinematic fictions, including popular movies such as The Matrix , make significant contributions to philosophy. Various more specific claims are linked to this basic idea. One, relatively weak, but pedagogically important observation is that some films can be used to provide philosophy students with vivid and thought-provoking illustrations of philosophical issues. Film screenings stimulate discussion and may motivate renewed engagement with difficult philosophical texts. A stronger contention, however, seeks to link innovative and philosophically valuable thinking to 'the film itself' or to the 'specificity of the cinematic medium'. Such claims raise interesting questions, including questions about the status of the increasingly prevalent philosophically motivated interpretations of particular movies. Who is actually doing the philosophizing in such cases? Is it the audio-visual display, the film-maker, or the philosopher who devises an interpretation of the work? What is the role of specifically cinematic devices in the philosophical points made in such interpretations? Is there any tension between the goal of appreciating a film as a work of art and the goal of arguing that a film has significant implications for a position on a problem in philosophy? A course in the general area of cinema as philosophy can focus on issues related to the locus and status of cinematic philosophizing. It can also delve into specific films and film-makers and philosophically oriented interpretations of specific philosophical topics, such as personal identity. Issues pertaining to interpretation, meaning, and authorship can be usefully investigated in this connection, as can topics in meta-philosophy related to the very nature of philosophical insight or knowledge. Author Recommends Carroll, Noël and Jinhee Choi, eds. 2008. The Philosophy of Film and Motion Pictures: An Anthology , Part VIII: Film and Knowledge. Malden, MA: Blackwell. 381–405. Inclues a brief introduction by Carroll followed by papers by Bruce Russell, Karen Hanson, and Lester H. Hunt. Kania, Andrew, ed. 2009. Memento . London: Routledge. A number of philosophers elucidate philosophical themes in Memento and discuss more general issues pertaining to cinema's philosophical significance. Livingston, Paisley. 2009. Cinema, Philosophy, Bergman: On Film as Philosophy . Oxford: Oxford University Press. Part 1 surveys arguments surrounding the cinema as philosophy theme, providing detailed criticisms of some of the bold theses in this area. Part 2 discusses issues related to cinematic authorship and the status of philosophically motivated interpretations of works of fiction, arguing for

This article defends a modest version of the Physical Church-Turing thesis (CT). Following an established recent trend, I distinguish between what I call Mathematical CT—the thesis supported by the original arguments for CT— and Physical CT. I then distinguish between bold formulations of Physical CT, according to which any physical process—anything doable by a physical system—is computable by a Turing machine, and modest formulations, according to which any function that is computable by a physical system is computable by a Turing machine. I argue that Bold Physical CT is not relevant to the epistemological concerns that motivate CT and hence not suitable as a physical analog of Mathematical CT. The correct physical analog of Mathematical CT is Modest Physical CT. I propose to explicate the notion of physical computability in terms of a usability constraint, according to which for a process to count as relevant to Physical CT, it must be usable by a finite observer to obtain the desired values of a function. Finally, I suggest that proposed counterexamples to Physical CT are still far from falsifying it because they have not been shown to satisfy the usability constraint.

Are experience and stimulus necessarily alike? Wertheimer spoke of this as an “insidious and insistent belief”. By contrast, Watson devotes an entire book to the defense of the thesis that representation necessarily requires resemblance. I argue that this bold and important thesis is ambiguous between a historical and a systematic reading, and that in either one of these readings the thesis, for different reasons, will be found wanting. Second, a proper evaluation of it in either one of its possible interpretations requires a careful analysis of the notion of resemblance. I proceed to supply some necessary distinctions and argue that, given such an analysis, Watson's thesis may be historically applicable only to ancient and medieval philosophy, while its systematic import is untenable.

Sergi Eisenstein's Potemkin provides a powerful example of how a film can present a revolutionary and socialist political perspective and ideology. A thoroughly modernist film, Potemkin is highly innovative in form and is often taken as a model of editing; it has regularly appeared on many lists of the greatest films of all time and since its release in 1925 has been a major critical success. Formally, the film embodies Eisenstein’s theory of montage, that the juxtaposition of images can generate meanings and on the level of ideology, the film serves as effective propaganda for the Bolsheviks.

Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term "cinematic" principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We are right if we mean that the film does well what movies often do well. We are wrong if we mean that the film is good for doing what is merely distinctive of film. This issue has important implications for understanding the role of the medium in artistic evaluation. I argue that we should reject Gaut's claim because it entails an implausibly strong medium specificity thesis.

The increasingly popular idea that cinematic fictions can "do" philosophy raises some difficult questions. Who is actually doing the philosophizing? Is it the philosophical commentator who reads general arguments or theories into the stories conveyed by a film? Could it be the film-maker, or a group of collaborating film-makers, who raise and try to answer philosophical questions with a film? Is there something about the experience of films that is especially suited to the stimulation of worthwhile philosophical reflections? In the first part of this book, Paisley Livingston surveys positions and arguments surrounding the cinema's philosophical value. He raises criticisms of bold theses in this area and defends a moderate view of film's possible contributions to philosophy. In the second part of the book he defends an intentionalist approach that focuses on the film-makers' philosophical background assumptions, sources, and aims. Livingston outlines intentionalist interpretative principles as well as an account of authorship in cinema. The third part of the book exemplifies this intentionalist approach with reference to the work of Ingmar Bergman. Livingston explores the connection between Bergman's work and the Swedish director's primary philosophical source-a treatise in philosophical psychology authored by the Finnish philosopher, Eino Kaila. Bergman proclaimed that reading this book was a tremendous philosophical experience for him and that he "built on this ground." With reference to materials in the newly created Ingmar Bergman archive, Livingston shows how Bergman took up Kaila's topics in his cinematic explorations of motivated irrationality, inauthenticity, and the problem of self-knowledge.

Although the cinematic medium can be used in philosophically valuable ways, bold contentions about how films 'do philosophy' in an independent, innovative and exclusively cinematic manner are highly problematic. Philosophers' interpretations of the stories conveyed in cinematic fictions do not actually support such bold claims about film's independent philosophical value; nor do they offer adequate appreciations of the films' artistic value. Different kinds of interpretations having different goals and conditions of success should be kept in view if we are to take a sufficiently critical perspective on contributions in this area. In particular, 'as if' interpretations in which a philosophical problematic is freely applied to elements of a movie's story are contrasted to interpretations that target a film author's actual philosophizing.