Film and Philosophy

ISSN: 1073-0427

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  1.  31
    Editor's Introduction.Laura T. Di Summa - 2024 - Film and Philosophy 28:3-5.
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  2.  34
    Racialized Disgust and the Depiction of Native Americans in the Ranown Cycle Westerns.Dan Flory - 2024 - Film and Philosophy 28:39-69.
    This article explores mainstream audience reactions concerning race and how they intersect with late 1950s Westerns known as the Ranown cycle. Synthesizing ideas from critical philosophy of race, philosophy of film, cognitive film theory, and philosophy of emotion, I analyze how these films elicit racialized reactions of sociomoral disgust toward Native American characters. Because such responses are not ordinarily processed through higher-level forms of cognition, I argue that these embodied, affective, implicit reactions are key to understanding how films like those (...)
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  3.  21
    Craig Fox & Britt Harrison, editors, Philosophy of Film Without Theory.Alexis Gibbs - 2024 - Film and Philosophy 28:135-139.
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  4.  47
    A Reflection of the Sun ( ).Sydney Harvey - 2024 - Film and Philosophy 28:1-18.
    This paper explores a philosophical argument about the use of natural light in films. I argue that directors use sunlight as a visual metaphor to induce a sublime experience from the viewer to elevate the narrative. While it is more efficient in terms of time management and finances to use electric lights, sunlight creates a successful emotional effect on the viewer placing them in contemplation of the relationship between humanity, nature, and humility. Essentially, I am concerned with what it is (...)
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  5. Taking Feminist Pornography Seriously.Georgie Malone - 2024 - Film and Philosophy 28:19-37.
    It has been argued that an adequate feminist response to sexist pornography demands not just efforts to eradicate sexist beliefs, but also aesthetic counter-intervention at the level of taste. This view motivates support for feminist pornography. This paper takes the feminist pornography suggestion seriously by unpacking difficulties for the project. I begin by spelling out two views about what makes feminist pornography feminist: the ‘content view,’ and the ‘context view,’ and discuss what I take to be existing arguments for the (...)
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  6.  57
    The Tragedy of the Knight of Faith.Francesco Sticchi & Silvia Liliana Angeli - 2024 - Film and Philosophy 28:91-110.
    The cinema of Martin Scorsese has been analysed in connection with a wide range of themes and issues. In this paper, through a film-philosophical analysis, we aim to demonstrate how his filmography produces storyworlds pervaded by a tension similar to the one Søren Kierkegaard expressed in his existentialist writings. Indeed, one of the tenets of film-philosophy is that audio-visual media generate, in an affective and experiential manner, complex moral and ethical systems and existential viewpoints with which viewers interact in a (...)
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  7.  31
    Joshua Heter and Richard Greene, editors, The Godfather and Philosophy: An Argument You Can’t Refute.Peter Vernezze - 2024 - Film and Philosophy 28:131-133.
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  8.  31
    Stop-Motion Animation’s Object Substitutions and Non-Depictive Representation.Andrea Marie Comiskey - 2024 - Film and Philosophy 28:111-129.
    This article explores a distinctive representational strategy used in stop-motion animation: the object substitution. Using as its central example a children’s TV episode in which brushes stand in for dogs, it explains how this strategy produces a complex relationship between depiction and representation. The analysis highlights the pragmatic underpinnings of various theories of pictorial and cinematic representation, arguing that, in a substitution, depicted elements constitute explicatures and represented ones implicatures. Connecting this strategy to humans’ capacity for pareidolia (seeing things in (...)
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  9.  50
    Murdoch's Caring Gaze and "My Octopus Teacher".Thomas E. Wartenberg - 2024 - Film and Philosophy 28:71-89.
    In her essay “The Idea of Perfection,” Iris Murdoch argues that sustained attention directed towards another can result in a person’s moral improvement by getting them to have a more accurate view of the other. In this essay, I argue that the award-winning film My Octopus Teacher illustrates Murdoch’s view and corrects some of its shortcomings. It illustrates Murdoch’s claim by showing how one of the filmmaker’s sustained attention directed at an octopus results not only in an alternation in the (...)
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