Philosophy of MotionPictures is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motionpictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motionpictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.
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. (shrink)
This book looks at the ways in which The Matrix Trilogy adapts Jean Baudrillard’s Simulacra and Simulation, and in doing so creates its own distinctive philosophical position. Where previous work in the field has presented the trilogy as a simple ‘beginner’s guide’ to philosophy, this study offers a new methodology for inter-relating philosophy and film texts, focusing on the conceptual role played by imagery in both types of text. This focus on the figurative enables a new-found appreciation of (...) the liveliness of philosophical writing and the multiple philosophical dimensions of Hollywood films. The book opens with a critical overview of existing philosophical writing on The Matrix Trilogy and goes on to draw on adaptation theory and feminist philosophy in order to create a new methodology for interlinking philosophical and filmic texts. Three chapters are devoted to detailed textual analysis of the films, tracing the ways in which the imagery that dominates Baudrillard’s writing is adapted and transformed by the trilogy’s complex visuals and soundtrack. The conclusion situates the methodology developed throughout the book in relation to other approaches currently emerging in the new field of Film-Philosophy. The book’s multi-disciplinary approach encompasses Philosophy, Film Studies and Adaptation Theory and will be of interest to undergraduates and postgraduates studying these subjects. It also forms part of the developing interdisciplinary field of Film-Philosophy. The detailed textual analysis of The Matrix Trilogy will also be of interest to anyone wishing to deepen their understanding of the multi-faceted nature of this seminal work. (shrink)
Time travelers and battles between people and machines provoke old philosophical questions: Can the past really be changed? How do we differentiate ourselves from machines? Can machines have an inner life? Brown (philosophy & critical thinking, LaGuardia Community Coll.) and Decker (philosophy, Eastern Washington Univ.; coeditor, Star Wars and Philosophy ) collect 19 essays by primarily young academics who pursue these questions with entertaining verve and philosophical skill. The Terminator story is about something well intentioned—a defense project—going (...) wrong, but none of the essays here presses this issue to a clear conclusion (readers whose interest is aroused would do well to read Wendell Wallach and Colin Allen's Moral Machines , concerned with actual machines and ones that might soon exist). Among the book's bright spots are contributions from Harry Chotiner and Jennifer Culver that show us something about how the movies work and explore the feminist issues posed by placing Sarah Connor at the center of the story. One essayist, Phillip Seng, addresses the philosophical trouble at the heart of the tale: telling good from evil in politics is hard. This book will earn a place in libraries by presenting serious issues in a way that attracts readers.—Leslie Armour, Dominican Univ. Coll., Ottawa, Ont. (shrink)
The Philosopher at the End of the Universe demonstrates how anyone can grasp the basic concepts of philosophy while still holding a bucket of popcorn. Mark Rowlands makes philosophy utterly relevant to our everyday lives and reveals its most potent messages using nothing more than a little humor and the plotlines of some of the most spectacular, expensive, high-octane films on the planet. Learn about: The Nature of Reality from The Matrix , Good and Evil from Star Wars (...) , Morality from Aliens , Personal Identity from Total Recall , The Mind-Body dilemma from Terminator , Free Will from Minority Report , Death and the Meaning of Life from Blade Runner , and much more. A search for knowledge about ourselves and the world around us with a star-studded cast that includes: Tom Cruise, Plato, Harrison Ford, Immanuel Kant, Arnold Schwarzenegger, Friedrich Nietzsche, Sigourney Weaver, Rene? Descartes, and Keanu Reeves. Rowlands anchors his discussions in easily understood everyday terms and relates them in a manner easy to identify with. Interspersed with a ready joke or two, he wonderfully explains why those SciFi movies we love so much are much deeper than they appear to be on the surface. Mark Rowlands's entertaining and stimulating guide is perfect for anyone searching for knowledge of the world around us. If Keanu can understand Descartes surely everyone can. (shrink)
Philosophy Goes to the Movies is a new kind of introduction to philosophy that makes use of the movies to explore philosophical ideas and positions. From art-house movies like Cinema Paradiso to Hollywood blockbusters like The Matrix, the movies we have grown up with provide us with a world of memorable images, events and situations that can be used to illustrate, illuminate and provoke philosophical thought.
Nihilism, American style -- The quest for evil -- The negative zone : suburban familial malaise in American beauty, Revolutionary road, and Mad men -- Normal nihilism as comic : Seinfeld, Trainspotting, and Pulp fiction -- Romanticism and nihilism -- Defense against the dark arts : from Se7en to the Dark knight and Harry Potter -- God got involved : sacred quests and overcoming nihilism -- Feels like the movies.
Preface : The film-envy of philosophy -- Introduction : nobody knows anything! -- Illustrating manuscripts -- Bordwell and other cogitators -- Žižek and the cinema of perversion -- Deleuze's kinematic philosophy -- Cavell, Badiou and other ontologists -- Extended cognitions and the speeds of cinema -- Fabulation, process and event -- Refractions of reality, or, What is thinking anyway? -- Conclusion : code unknown - a bastard theory for a bastard act.
This book explores Gilles Deleuze's contribution to film theory. According to Deleuze, we have come to live in a universe that could be described as metacinematic. His conception of images implies a new kind of camera consciousness, one that determines our perceptions and sense of selves: aspects of our subjectivities are formed in, for instance, action-images, affection-images and time-images. We live in a matrix of visual culture that is always moving and changing. Each image is always connected to an assemblage (...) of affects and forces. This book presents a model, as well as many concrete examples, of how to work with Deleuze in film theory. It asks questions about the universe as metacinema, subjectivity, violence, feminism, monstrosity, and music. Among the contemporary films it discusses within a Deleuzian framework are Strange Days, Fight Club, and Dancer in the Dark. (shrink)
Appropriate for both academic readers and informed general enthusiasts of the cinema it addresses, the book demonstrates both philosophy's particular usefulness for the analysis of modernist cinema and film form's inherent potential for ...
An exploration of the relationship between cinema and existentialism, in terms of their mutual ability to describe the human condition, this book combines analyses of topics in the philosophy of film with an exploration of specific existentialist themes expressed in the films of Fellini, Bergman and Woody Allen, among others.
Machine generated contents note: Introduction Part One. The Spectacular Life of Spider-Man? 1. Does Peter Parker Have a Good Life? Neil Mussett 2. What Price Atonement? Peter Parker and the Infinite Debt Taneli Kukkonen "My Name is Peter Parker": Unmasking the Right and the Good Mark D. White Part Two. Responsibility-Man 4. "With Great Power Comes Great Responsibility": Spider-Man, Christian Ethics, and the Problem of Evil Adam Barkman 5. Does Great Power Bring Great Responsibility? Spider-Man and the Good Samaritan J. (...) Keeping 6. With Great Power Comes Great Culpability: How Blameworthy is Spider-Man for Uncle Ben's Death? Philip Tallon Part Three. Spider-Sense and the Self 7. Why is My Spider-Sense Tingling? Andrew Terjesen 8. Red or Black: Perception, Identity and Self Meaghan P. Godwin 9. With Great Power: Heroism, Villainy, and Bodily Transformation Mark K. Spencer Part Four. Arachnids "R" Us: Technology and the Human, All Too Human 10. Transhumanism: Or, Is It Right to Make a Spider-Man? Ron Novy 11. Maximum Clonage: What the Clone Saga Can Teach Us About Human Cloning Jason Southworth and John Timm Part Five. Your Friendly Neighborhood Spider-Man 12. Justice versus Romantic Love: Can Spider-Man Champion Justice and Be with Mary Jane at the Same Time? Charles Taliaferro and Tricia Little 13. Friendship, and Being Spider-Man Tony Spanakos 14. Spidey's Tangled Web of Obligations: Fighting Friends and Dependents Gone Bad Christopher Robichaud Part Six. The Amazing Speaking Spider: Jokes, Stories, and the Choices We Make 15. The Quipslinger: The Morality of Spider-Man's Jokes Daniel P. Malloy 16. The Sound and Fury Behind "One More Day" Marks D. White 17. Spider-Man and the Importance of Getting Your Story Straight Jonathan J. Sanford Contributors Index . (shrink)
The word “picture” occurs pervasively in Wittgenstein's later philosophy. Not only does Wittgenstein often use literal pictures or the notion of mental pictures in his investigations, but he also frequently uses “picture” to speak about a way of conceiving of a matter (e.g. “A picture held us captive” at Philosophical Investigations§115). I argue that “picture” used in this conceptual sense is not a shorthand for an assumption or a set of propositions but is rather an expression of (...) conceptual bedrock on the model of an organising myth. This reading builds primarily on work by Gordon Baker and Stanley Cavell. (shrink)
Introduction -- Tales of dominion -- The plow and the gun -- Picturing the West, 1883-1893 -- American idol, 1898 -- The end of nature -- African romance -- The dark continent -- When cowboys go to heaven -- Transplanting Africa -- Of ape-men, sex, and cannibal kings -- Adventures in monkeyland -- Nature, the film -- The world scrubbed clean.
New Takes in Film-Philosophy offers a space for the advancement of the film-philosophy debate by some of its major figures. Fifteen leading academics from Philosophy and Film Studies develop new approaches to film-philosophy, broaden theoretical analyses of the topic and map out problems and possibilities for its future. The collection examines theoretical issues about the relationship between film and philosophy; looks at the relationships film-philosophy has to other media such as photography and literature; and (...) applies theoretical approaches to particular films and directors. Written in a clear style that assumes no previous knowledge of any particular philosopher, this collection will appeal to advanced students and scholars in philosophy, film studies, cultural studies, media studies and the arts. _. (shrink)
Introduction : cinema, memory, modernity: the return of memory as film -- No escape from time : memory and redemption in the international postwar art film -- The "crisis" of memory : "traumatic identity" in the contemporary memory film -- "Global memory" : cinema as lingua franca and the commodification of the image -- The eye of history : memory, surveillance and ethicality in the contemporary art film -- "Prosthetic memory" and transnational cinema : globalized identity and narrative recursivity in (...) City of God -- Conclusion: remembering to forget: the catachreses of modernity. (shrink)
At the Intersection of High and Mass Culture analyses the contradictions and interaction between high and low art, with particular reference to Hollywood and European cinema. Written in the essayist, speculative tradition of Walter Benjamin and Theodore Adorno, this study also includes analyses of several key films of the 1980s. Tracing the boundaries of such genres as film noir, science fiction and melodrama, it demonstrates how these genres were radically expanded by such filmmakers as Neil Jordan, Chris Merker and Georges (...) Franju. This work also reflects on kitsch, the star system, racial and gender stereotypes, and the nature of audience participation. While defining the conditions under which the symbiotic relationship between high and mass culture can be cross-fertilising, this study stresses their inevitably contradictory characteristics. (shrink)
There was a time in screen culture when the facial close-up was a spectacular and mysterious image… The constant bombardment of the super-enlarged, computer-enhanced faces of advertising, the endless 'talking heads' of television and the ever-changing array of film stars' faces have reduced the face to a banal image, while the dream of early film theorists that the 'giant severed heads' of the screen could reveal 'the soul of man' to the masses is long since dead. And yet the end (...) of this dream opens up the possibility for a different view of the face on the screen. The aim of the book is to seize this opportunity to rethink the facial close-up in terms other than subjectivity and identity by shifting the focus to questions of death and recognition. In doing so, the book proposes a dialectical reversal or about-face. It suggests that we focus our attention on the places in contemporary media where the face becomes unrecognisable, for it is here that the facial close-up expresses the powers of death. Using Walter Benjamin's theory of the dialectical image as a critical tool, the book provides detailed studies of a wide range of media spectacles of faces becoming unrecognisable. It shows how the mode of recognition enabled by these faces is a shock experience that can open our eyes to the underside of the mask of self - the unrecognisable mortal face of self we spend our lives trying not to see. Turning on itself, so to speak, the face exposes the fragile relationship between social recognition and facial recognizability in the images-cultures of contemporary media. (shrink)
Introduction -- Time and matter: temporality, embodied subjectivity and film phenomenology -- Knowing and nothing: Chris Marker, subjective temporalities and vocalic bodies in the future tense -- Agnès Varda's Trinket box: subjective relationality, affect and temporalised space -- Burlesque gestures and bodily attention: phenomenologies of the ephemeral in Chantal Akerman -- Threatened corporealities: thinking with the films of Philippe Grandrieux -- Conclusion: rethinking cinematic subjectivity and beyond.
Introduction : heroes like us -- Hegel, the western and classical modernity -- The myth and the frontier -- The hero in the epochs of mythical and the bourgeois -- The end of the individual -- The end of the subject -- Romanticism, crime and agonal modernity -- The return of tragedy in modernity -- Heroes of coolness and the ironist -- Nietzsche, science fiction and hybrid modernity -- Heroic individualismus and metaphysics -- Superhumans, supermen, cyborgs -- Heroes of the (...) future. (shrink)
Hegel, the western and classical modernity. The myth and the frontier ; The hero in the epochs of mythical and the bourgeois ; The end of the individual ; The end of the subject -- Romanticism, crime and agonal modernity. The return of tragedy in modernity ; Heroes of coolness and the ironist -- Nietzsche, science fiction and hybrid modernity. Heroic individualismus and metaphysics ; Superhumans, supermen, cyborgs ; Heroes of the future.
Introduction : time, film, and the ethical vision of Emmanuel Levinas. American transcendence : Levinas and a short history of an American idea in film -- Frank Capra and James Stewart : time, transcendence, and the other -- The changing face of American redemption : Henry Fonda, Marilyn Monroe, Paul Newman, and Denzel Washington -- Sex, art, and Oedipus : The unbearable lightness of being -- Fellini and La dolce vita : documentary, decadence, and desire -- Antonioni and L'avventura : (...) transcendence, the body, and the feminine. (shrink)
The relationship between cinema and technology is a complex and fascinating one. Andrew Utterson brings together key theoretical texts spanning more than a century of writing. He begins by investigating cinema as technology or as an interconnected series of technologies, then goes on to examine the technological history of cinema within a much broader context: as one element in a sustained period of technological expansion, cinematic or otherwise, and its impact on the wider world. Rather than seeing technologies in traditional (...) mechanical terms, this reader explores by way of the moving image the various cultural, social, political, economic and ideological dimensions that are essential to an understanding of technology. Students taking courses on cinema and media technologies will find this an ideal introduction to the wealth of writing and research in the field. (shrink)
Machine generated contents note: IntroductionUNIT ONE: THE HUMAN CONDITION 1.0 Introduction 1.1 Authenticity 1.2 Personal Identity 1.3 Autonomy and Liberty 1.4 Courage and Inner Strength UNIT TWO: ETHICAL THEORY 2.0 Introduction 2.1 Ethical Egoism 2.2 Cultural Relativism 2.3 Utilitarianism 2.4 Kantian Ethics 2.5 Rawls' Justice Theory 2.6 Aristotle's Virtue Ethics 2.7 Feminist EthicsUNIT THREE: ETHICAL DILEMMAS 3.0 Introduction 3.1 Confronting the Dilemma 3.2 Encountering Evil 3.3 The Impact of Perspective 3.4 Reflecting on Ethical Decisions 4.0 Conclusion to the Text 4.1 (...) APPS: General References 4.2 APPS: Contemporary Moral Problems ApplicationsOfficial Websites and Other Resources (On Seeing the Light website). (shrink)
1. Cine y vanguardias : el cine como promesa estético-política desde Dziga Vertov y Jean Epstein -- 2. Deleuze y las potencias del cine : el acontecimiento de lo inorgánico -- 3. De la vida inorgánica a la vida histórica : recuperación del carácter narrativo del cine a partir de Jacques Ranciere.
Y lo que es más decisivo, con El Cine y la Metáfora aprendemos a ver las películas de una manera más compleja, porque nos enseña a desmenuzar inteligentemente algunos de los elementos y objetos cotidianos que constituyen el alfabeto de ...
Introduction -- Trapped by oneself in Jacques Tourneur's Out of the past -- "A deliberate, intentional fool" in Orson Welles's The lady from Shanghai -- Sexual agency in Fritz Lang's Scarlet Street -- "Why didn't you shoot again, baby?": concluding remarks.
In the post-Newtonian world motion is assumed to be a simple category which relates to the locomotion of bodies in space, and is usually associated only with physics. Philosophy, God and Motion shows that this is a relatively recent understanding of motion and that prior to the scientific revolution motion was a much broader and more mysterious category, applying to moral as well as physical movements. Simon Oliver presents fresh interpretations of key figures in (...) the history of western thought including Plato, Aristotle, Aquinas and Newton, examining the thinkers' handling of the concept of motion. Through close readings of seminal texts in ancient and medieval cosmology and early modern natural philosophy, the book moves from antique to modern times investigating how motion has been of great significance within theology, philosophy and science. Particularly important is the relation between motion and God, following Aristotle traditional doctrines of God have understood the divine as the 'unmoved mover' while post-Holocaust theologians have suggested that in order to be compassionate God must undergo the motion of suffering. Philosophy, God and Motion suggests that there may be an authentically theological, as well as a natural scientific understanding of motion. (shrink)
Introduction -- An improbable alliance : Peter Wollen's "The auteur theory" -- Visual stylometry : Barry Salt's "Statistical style analysis of motionpictures" -- Between Shakespeare and Sirk : Thomas Elsaesser's "Tales of sound and fury: observations on the family melodrama" -- From iconicity to semiotic articulation : Christian Metz's "cinema: language or language system?" and language and cinema -- Film as a specific signifying practice : Stephen Heath's "On screen, in frame: film and ideology" -- Against theories (...) of reflection : Laura Mulvey's "Visual pleasure and narrative cinema" -- Early cinema spectatorship : Tom Gunning's "The cinema of attraction(s): early film, its spectator, and the avant-garde" -- Another Lacan : "the universal: suture revisited" -- The death of the camera : Edward Branigan's "What is a camera?" -- Conclusion: teaching theory. (shrink)
Except for a patina of twenty-first century modernity, in the form of logic and language, philosophy is exactly the same now as it ever was; it has made no progress whatsoever. We philosophers wrestle with the exact same problems the Pre-Socratics wrestled with. Even more outrageous than this claim, though, is the blatant denial of its obvious truth by many practicing philosophers. The No-Progress view is explored and argued for here. Its denial is diagnosed as a form of anosognosia, (...) a mental condition where the affected person denies there is any problem. The theories of two eminent philosophers supporting the No-Progress view are also examined. The final section offers an explanation for philosophy's inability to solve any philosophical problem, ever. The paper closes with some reflections on philosophy's future. (shrink)
"Tough, smart, superbly engaging, The Material Ghost is a terrific book." -- Edward W. Said In The Material Ghost , Gilberto Perez draws on his lifelong love of the movies as well as his work as a film scholar to write a lively, wide-ranging, penetrating study of films and filmmakers and the nature of the art form. For Perez, film is complex and richly contradictory, lifelike and dreamlike at once, a peculiar mix of reality and imagination. "The images on the (...) screen," he writes, "carry in them something of the world itself, something material, and yet something transposed, transformed into another world: the material ghost." "Dazzling... The sheer intelligence at work in these lucid pages is exhilarating." -- Alfred Guzzetti, Boston Book Review "A pleasure. Gilberto Perez is one of the smartest film critics writing anywhere." -- Jonathan Rosenbaum "Strikes an ideal balance between insightful analysis and graceful writing... A model of thoughtful criticism." -- David Sterritt, Christian Science Monitor "Brilliantly polemical in his critique of cynical reason ('the official philosophy of late capitalism'), no less passionate in defending the truth-value of cinema, Perez seems to be the clearest heir to the great humanist critic André Bazin." -- Sight & amp Sound "The chapters on Keaton and Renoir are stunning, full of perceptive remarks the chapter on Godard is a persuasive rehabilitation none of the chapters is without memorable insights." -- Michael Wood, London Review of Books "Gilberto Perez's ambitious, abundant, and cultivated book--the fruit of decades of thinking and teaching -- accompanies readers on a journey of discovery into the wonder of film." -- Stanley Cavell "Few books of film criticism in the past twenty-five years have been so enjoyable or instructive... [Perez] has excellent things to say about authorship, about documentaries, about popular genres, about cinematic point of view and narrative technique, about actors, and above all about camera style... He makes us want to look once more at the remarkable pictures he discusses." -- James Naremore, Cineaste. (shrink)
Examines the overlap between film and philosophy in three distinct ways: epistemological issues in film-making and viewing; aesthetic theory and film; and film as a medium of philosophical expression. This title available in eBook format. Click here for more information . Visit our eBookstore at: www.ebookstore.tandf.co.uk.
Examining both why and how Emerson evades the ancient quarrel between literature and philosophy, this book entirely rethinks the nature of Emerson's radical individualism and its relation to the possibility of an ethics and a politics. The author argues that the quarrel between literature and philosophy never took place in America, and that instead traditional philosophical work staged itself here as a form of literary praxis and cultural therapeutics, epitomized in the work of Emerson. A revisionary study of (...) some of Emerson's central essays, Less Legible Meanings also invites the reader to reconsider the nature of Emerson's influence on contemporary American culture and to discover new ways in which we might continue to understand his work. Interdisciplinary in scope, the book makes equal use of the history of philosophy, psychoanalytic theory, and cultural history. (shrink)
Why is film becoming increasingly important to philosophers? Is it because it can be a helpful tool in teaching philosophy, in illustrating it? Or is it because film can also think for itself, because it can create its own philosophy? In fact, a popular claim amongst film philosophers is that film is no mere handmaiden to philosophy, that it does more than simply illustrate philosophical texts: rather, film itself can philosophise in direct audio-visual terms. Approaches that purport (...) to grant to film the possibility of being more than illustrative can be found in the subtractive ontology of Alain Badiou, the Wittgensteinian analyses of Stanley Cavell, and the materialist semiotics of Gilles Deleuze. In each case there is a claim that film can think in its own way. Too often, however, when philosophers claim to find indigenous philosophical value in film, it is only on account of refracting it through their own thought: film philosophizes because it accords with a favored kind of extant philosophy. Refractions of Reality: Philosophy and the Moving Image is the first book to examine all the central issues surrounding the vexed relationship between the film image and philosophy. In it, John Mullarkey tackles the work of particular philosophers and theorists (Zizek, Deleuze, Cavell, Bordwell, Badiou, Branigan, Rancière, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Psychoanalytic and Phenomenological). Moreover, he also offers an incisive analysis and explanation of several prominent forms of film theorizing, providing a metalogical account of their mutual advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising, and revisioning the field of film theory as a whole. Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. In particular: must philosophy (and theory) always transform film into pretexts for illustration? What would it take to imagine how film might itself theorize without reducing it to standard forms of thought and philosophy? Finally, and fundamentally, must we change our definition of philosophy and even of thought itself in order to accommodate the specificities that come with the claim that film can produce philosophical theory? If a ‘non-philosophy’ like film can think philosophically, what does that imply for orthodox theory and philosophy? (shrink)
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. (shrink)
This volume of new essays energizes a growing movement in film theory which questions and seeks to overturn many of the assumptions that have governed film theory for the last twenty years. The book brings together film scholars and philosophers in a united commitment to the standards of argumentation that characterize analytic philosophy rather than a single doctrinal approach. The essays address such topics as authorship, emotion, ideology, representation, and expression in film.
In Projecting a Camera, film theorist Edward Branigan offers a groundbreaking approach to understanding film theory. Why, for example, does a camera move? What does a camera "know"? (And when does it know it?) What is the camera's relation to the subject during long static shots? What happens when the screen is blank? Through a wide-ranging engagement with Wittgenstein and theorists of film, he offers one of the most fully developed understandings of the ways in which the camera operates in (...) film. With its thorough grounding in the philosophy of spectatorship and narrative, Projecting a Camera takes the study of film to a new level. With the care and precision that he brought to Narrative Comprehension and Film , Edward Branigan maps the ways in which we must understand the role of the camera, the meaning of the frame, the role of the spectator, and other key components of film-viewing. By analyzing how we think, discuss, and marvel about the films we see, Projecting a Camera, offers insights rich in implications for our understanding of film and film studies. (shrink)
Do humans have free Will? What distinguishes morally right from morally wrong action? Does God exist? Does life have meaning? What is the ultimate nature of reality? What are the limits of human knowledge? Philosophy through Film offers a stimulating new way to explore the basic questions of philosophy. Each chapter uses a popular film to examine one such topic- from free will and skepticism to personal identity and artificial intelligence- in an approachable yet philosophically rigorous manner. A (...) wide range of films is employed all of which are readily available through major video rental chains. This unique and engaging introduction provides an exciting new way to learn about philosophy, and connects complicated philosophical questions to the familiar settings of popular culture. (shrink)
Philosophy and film. Why film and philosophy? -- Philosophy and film spectatorship -- Epistemology and metaphysics. Knowing what's what in Total recall -- Ontology and The matrix -- It's all in the mind: AI artificial intelligence and robot love -- La jetee and the promise of time travel -- The human condition. Fate and choice: the philosophy of Minority report -- Personal identity: the case of Memento -- The spectacle of horror: Funny games -- Looking for (...) meaning in all the wrong places (Ikiru, "to live") -- Ethics and values. Crimes and misdemeanors and the fragility of moral motivation -- Lives of others: moral luck and regret -- The dark knight: Batman on deontology and consequentialism -- Dangerous childhood: La promesse and the possibility of virtue. (shrink)
Rethinking “philosophy” to-day, it is necessary to think first of all about ontological foundations of the modern scientific universe description and rethink them on the ground of modern scientific knowledge, because until now there is no any precise scientific conception of the structure of the universe, of reasons and movingforces of its permanent evolution. All of it create basis to propose various unscientific ideas of creationism. Until now most of philosophers associate the motion of Matter on the whole (...) only with its motion in space and in time, mixing philosophical and physical aspects of these two principle categories. Generally speaking, the present-day ontological model of understanding the World, the Universe is constructed purely on the basis of only these two fundamental categories. However, a more deep reflection of the essence of Being, if to realize it on the basis of only these two global categories, brings us to the disappointing conclusion, that in this case we have nothing more except a mechanical motion, i.e. spatial displacement of a material point (or a system of points) relatively some point of counting off. To make it normal and logic we should add to the ontological model one more essential part – the motion in quality. So, in order to create the full and complete picture of the formation and evolution of the material World it is necessary to observe the motion of material forming in the three equivalentphilosophical categories: in space time quality. The ideas of the new conception of ontological model become actual supplementation of really scientific philosophical knowledge on the way of a more objective ontological comprehension of our Being, of the law of development of the human civilization and the Universe as a whole. This knowledge can be successfully used for the description of the realistic paradigm of Being, in explanations of the meaning of Life. (shrink)
This is a major study of conceptions of selfhood and personality in Homer and Greek Tragedy and Philosophy. The focus is on the norms of personality in Greek psychology and ethics. Gill argues that the key to understanding Greek thought of this type is to counteract the subjective and individualistic aspects of our own thinking about the person. He defines an "objective-participant" conception of personality, symbolized by the idea of the person as an interlocutor in a series of psychological (...) and ethical dialogues. (shrink)
In the first essay of this book, Stanley Cavell characterizes philosophy as a "willingness to think not about something other than what ordinary human beings think about, but rather to learn to think undistractedly about things that ordinary human beings cannot help thinking about, or anyway cannot help having occur to them, sometimes in fantasy, sometimes as a flash across a landscape." Fantasies of film and television and literature, flashes across the landscape of literary theory, philosophical discourse, and French (...) historiography give Cavell his starting points in these twelve essays. Here is philosophy in and out of "school," understood as a discipline in itself or thought through the works of Shakespeare, Molière, Kierkegaard, Thoreau, Brecht, Makavejev, Bergman, Hitchcock, Astaire, and Keaton. (shrink)
This article notes six advances in recent analytic Kant research: (1) Strawson's interpretation, which, together with work by Bennett, Sellars, and others, brought renewed attention to Kant through its account of space, time, objects, and the Transcendental Deduction and its sharp criticisms of Kant on causality and idealism; (2) the subsequent investigations of Kantian topics ranging from cognitive science and philosophy of science to mathematics; (3) the detailed work, by a number of scholars, on the Transcendental Deduction; (4) the (...) clearer understanding of transcendental idealism sparked by reactions to Allison's epistemic account; (5) the resulting need—prompted also by new studies of the thing in itself—to face up to the old question of the philosophical defensibility of such idealism; and (6) the active engagement with Kant's ethics and political philosophy that derives from Rawls's and others' work. (shrink)
The aim of this paper is to consider the standard objections put against the construction of metanarratives in the philosophy of history. The author distinguishes following intelectual sources questioning the grasp of Entirety in the philosophy of history: anti-naturalistic German philosophy of science, dogmatic Marxism, liberalism and postmodernism. Analysis of the content of these stances allows for disclose of hidden methodological and theoretical premises which are responsible for misunderstanding and critique of the historiosophical discourse.
This article seeks to clarify the concept of progress in philosophy. It treats progress as a kind of development. But not every development is a progress. When we talk about progress, what really matters is the direction of development. In some cases it is relatively easy to reach agreement about this direction. But not in the case of philosophy, if we abstract it from the obvious and the trivial, like the number of books on philosophy. As a (...) result, the article concludes that there cannot be progress in philosophy. Instead we see a continual multiplication of interpretations. (shrink)
Machine generated contents note: -- Introduction to the OneThe Concept of One: From Philosophy to Politics -Artemy Magun Part I. Metaphysics of the One and the Multiple1. More than One -Jean Luc Nancy 2. Condivision, or Towards a Non- communitarian Concatenation of Singularities -Gerald Raunig 3. Unity and Solitude -Artemy Magun 4. The Fragility of the One -Maria Calvacante 5. The One: Construction or Event? For a Politics of Becoming -Boyan Mancher Part II. 20th-Century Thinkers of Unity and Multiplicity (...) 6. Truth and Infinity in Badiou and Heidegger -Alexey Chernyakov 7. Complicated Presence: The Unity of Being in Parmenides and Heidegger -Jussi Bachman 8. The Universal, the General, the Multiple in the Perspective of a Political Utopia: Deleuze and Badiou on the Event -Keti Chukhrov 9. Humanity, Unity and the One -Nina Power Part III. Unity and Multiplicity in Nature 10. Elemental Nature as the Ultimate Common Ground of the World Community -Susanna Lindberg 11. Vegetative Democracy, or the Post-metaphysics of Plants -Michael Marder Part IV. Unity in Action: Forms of Political Consolidation in the Case of Contemporary Russia12. Collectivity in Post-revolutionary Russia -Igor Tchubarov13. Street University: Production of Collective Time and Public Space -Pavel Arsenyev 14. Fighting Together: the Problem of Solidarity -Carine Cle;ment Part V. E Pluribus Unum: Res Publica and Community 5. How Does One Constitute the One? Theology of the Icon, Theory of Non-representative Art and of Non-representative Politics -Oleg Kharkhodin12. Drawing Lots in Politics: Unity and Totality -Yves Sintomer. (shrink)
Figuring Animals is a collection of fifteen essays concerning the representation of animals in literature, the visual arts, philosophy, and cultural practice. At the turn of the new century, it is helpful to reconsider our inherited understandings of the species, some of which are still useful to us. It is also important to look ahead to new understandings and new dialogue, which may contribute to the survival of us all. The contributors to this volume participate in this dialogue in (...) a variety of ways--through personal experience, natural history, cultural studies, philosophical inquiry, art history, literary analysis, film studies, and theoretical imagining, and through a combination of these trains of thought. The essays expose weaknesses in western epistemological frames of reference that for centuries have limited our views and, thus, our experiences of animal being, including our own. (shrink)
Introduction: why did philosophy go to the movies? -- The analytic-cognitivist turn. The empire strikes back: critiques of "grand theory" -- The rules of the game: new ontologies of film -- Adaptation: philosophical approaches to narrative -- From cognitivism to film-philosophy. A.I.: cognitivism goes to the movies -- Bande à part: Deleuze and Cavell as film-philosophers -- Scenes from a marriage: film as philosophy -- Cinematic thinking. Hollywood in trouble: David Lynch's Inland empire -- "Chaos reigns": anti-cognitivism (...) in Lars von trier's Antichrist -- Song of the earth: cinematic romanticism in Malick's The new world -- Coda: "the six most beautiful minutes in the history of cinema". (shrink)
This book is an invitation to read poetry. Simon Critchley argues that poetry enlarges life with a range of observation, power of expression and attention to language that eclipses any other medium. In a rich engagement with the poetry of Wallace Stevens, Critchley reveals that poetry also contains deep and important philosophical insight. Above all, he argues for a "poetic epistemology" that enables us to think afresh the philosophical problem of the relation between mind and world, and ultimately to cast (...) the problem away. Drawing astutely on Kant, the German and English Romantics and Heidegger, Critchley argues that through its descriptions of particular things and their stubborn plainness - whether water, guitars, trees, or cats - poetry evokes the "mereness" of things. It is this experience that provokes the mood of calm and releases the imaginative insight we need to press back against the pressure of reality. Critchley also argues that this calm defines the cinematic eye of Terrence Malick, whose work is discussed at the end of the book. (shrink)
This book is about the influence of varying theological conceptions of contingency and necessity on two versions of the mechanical philosophy in the seventeenth century. Pierre Gassendi (1592-1655) and Rene; Descartes (1596-1650) both believed that all natural phenomena could be explained in terms of matter and motion alone. They disagreed about the details of their mechanical accounts of the world, in particular about their theories of matter and their approaches to scientific method. This book traces their differences back (...) to theological presuppositions they inherited from the Middle Ages. Theological ideas were transformed into philosophical and scientific ideas which led to the emergence of different styles of science in the second half of the seventeenth century. (shrink)
Boys, Boyz, Bois concerns questions of ethics, gender and race in popular American images, national discourse and cultural production by and about black men. The book proposes an ethics of masculinity, as ethnics refers to a system of morality and valuation and as ethics refers to a care of the self and ethical subject formation. The texts of analysis include recent films by black/African American filmmakers, gansta rap and hip-hop and black star persona: texts ranging from Blaxploitation and New Black (...) Cinema to contemporary music video to autobiography and the public image of Sidney Poitier. The book is a significant contribution to cultural studies and gender studies and critical race theory. What is distinctive about the book is the question of ethics as a question of race and gender. (shrink)
Aims of education: historicism and In the castle of my skin -- The meaning of life and Black lightning -- The inner radiance of the shelf in Palace of the peacock -- Knowledge and human understanding in A house for Mr Biswas -- Existentialism and The children of Sisyphus -- Tragic vision in Wide Sargasso Sea -- African conceptions of a person and Myal -- The law of karma in Sastra -- The moralty of reparations in Salt -- Plato versus (...) Kincaid?: A reading of The autobiography of my mother. (shrink)
The Matrix trilogy is unique among recent popular films in that it is constructed around important philosophical questions--classic questions which have fascinated philosophers and other thinkers for thousands of years. Editor Christopher Grau here presents a collection of new, intriguing essays about some of the powerful and ancient questions broached by The Matrix and its sequels, written by some of the most prominent and reputable philosophers working today. They provide intelligent, accessible, and thought-provoking examinations of the philosophical issues that support (...) the films. Philosophers Explore The Matrix includes an introduction that surveys the use of philosophical ideas in the film. Topics that the contributors tackle include: how a collaborative dream could differ from hallucination, the difference between the Matrix and the "real" world; why living in the Matrix would be considered "bad"; the similarities between the Matrix and Plato's Cave; the moral status of artificially created beings, whether one can behave immorally in illusory circumstances, and the true nature of free will and responsibility. This volume also includes an appendix of classic philosophical writing on these issues by Plato, Berkeley, Descartes, Putnam, and Nozick. Philosophers Explore The Matrix will fascinate any fan of the films who wants to delve deeper into their themes, as well as any student of philosophy who desires an accessible entry into this challenging and profoundly vital world of ideas. (shrink)
This chapter argues that the standard conception of Spinoza as a fellow-travelling mechanical philosopher and proto-scientific naturalist is misleading. It argues, first, that Spinoza’s account of the proper method for the study of nature presented in the Theological-Political Treatise (TTP) points away from the one commonly associated with the mechanical philosophy. Moreover, throughout his works Spinoza’s views on the very possibility of knowledge of nature are decidedly sceptical (as specified below). Third, in the seventeenth-century debates over proper methods in (...) the sciences, Spinoza sided with those that criticized the aspirations of those (the physico-mathematicians, Galileo, Huygens, Wallis, Wren, etc) who thought the application of mathematics to nature was the way to make progress. In particular, he offers grounds for doubting their confidence in the significance of measurement as well as their piece-meal methodology (see section 2). Along the way, this chapter offers a new interpretation of common notions in the context of treating Spinoza’s account of motion (see section 3). (shrink)
"A book well worth reading as its expose of postmoderism has a clarity others would do well to imitate." --Tim Gay in NATFHE Journal Blue Velvet, sex, lies and videotape, Do the Right Thing, and Wall Street are just some of the provocative films that Denzin explores for their portrayal of the postmodern self. He examines the basic thesis that members of the contemporary world are voyeurs who, adrift in a sea of symbols, recognize and anchor themselves through cinema and (...) television. He skillfully weaves this idea back and forth between two kinds of texts: social theory, including poststructuralism, postmodernism, feminism, and marxism; and cinematic representations of life in modern America. The result is a solid assertion that postmodernism has shaped a dramaturgical society where the image has tragically replaced reality. Denzin offers a powerful reading of postmodern American society and the cinematic selves, however distorted, that inhabit this fantasy world. At the same time, he outlines the main contours of postmodern sociology and a postmodern sociological imagination that is responsive to the current historical moment. Images of Postmodern Society will play a key role in understanding the powerful relationship between postmodernism and the cinema for upper level graduates, gradate students, and contemporary scholars of cultural studies, communications, political science, anthropology, sociology, education, history, literary and cinema studies. "The book could be usefully incorporated into undergraduate sociology courses, particularly those that consider media and society, where it might serve as a basis for further discussion and examination of some important issues." --Journal of Communication "Images of Postmodern Society is a good book on two different levels. First, Denzin advances his own theory of postmodernism and, more specifically, of what he calls the "postmodern self," that is interesting and provocative. Second, this is one of the few books on postmodernity that is truly practical, in the sense that the book would be quite a good text to use in courses on the subject, whether they be in philosophy, sociology, film and media studies, cultural studies, and perhaps even anthropology. . . . I would certainly like to use the book for this purpose myself, and I would recommend the book for that purpose to colleagues in the departments mentioned." --Bill Martin, Philosophy Department, DePaul University "Denzin uncovers a profoundly important tension in postmodern culture . . . His work, then, demonstrates that the 'abundance of meaning' found in these films lies in the collision of modernist and postmodernist depictions of cultural practice." --Contemporary Sociology "Norman Denzin, one of the most interesting theorists and ethnographers in American sociology, has turned his critical eye to postmodern theory and contemporary American culture and society. Revitalizing Mills' sociological imagination, Denzin addresses the relations between Hollywood films of the 1980s, their constructions of self, and the structures of lived experience. He offers a postmodern sociology which addresses the increasingly conservative basis of postmodern ideologies of race, class, and gender. It offers an original postmodern critique of the postmodern. Images of Postmodern Society should be and will be widely read and discussed." --Larry Grossberg, University of Illinois. (shrink)