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  1. The Aesthetic Achievement and Cognitive Value of Empathy for Rough Heroes.William Kidder - 2022 - Journal of Value Inquiry 56 (2).
    Modern television is awash in programs that focus on the rough hero, a protagonist that is explicitly depicted as immoral. In this paper I examine why audiences find these characters so compelling, focusing on archetypal rough heroes in two programs: The Sopranos and Breaking Bad. I argue that the ability of rough-hero programs to engender a certain degree of empathy for morally deviant characters despite viewers' resistance to empathizing with these characters' moral views is an aesthetic achievement. In addition, I (...)
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  2. Film Gris V. Film Noir.Sander H. Lee - 2022 - Film and Philosophy 26:123-141.
    In this essay, I argue that the distinction between film gris and film noir, introduced by Jon Tuska in his 1984 book Dark Cinema, enhances our appreciation of the philosophical attributes of such films. For Tuska, there are important differences between a film gris and a film noir. While a film gris may have a number of noir attributes a genuine film noir is not merely a police procedural and must not have a happy ending, I will also argue that (...)
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  3. Historical Knowledge as Self-Understanding in the Films of Whit Stillman.Timothy Yenter - 2022 - Film and Philosophy 26:69-84.
    Whit Stillman’s films depict characters attempting to gain relevant knowledge of their historical situation so that they can shape their lives. Through an analysis of scenes from each of Stillman’s films, this essay demonstrates that historical knowledge is presented as a kind of self-understanding in the films. That historical knowledge is useful for gaining control over one’s future as well as for properly evaluating one’s life reveals a philosophically interesting approach to self-knowledge. Stillman’s complex approach of layering contexts further suggests (...)
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  4. Gillespie, Michael Boyce. Film Blackness: American Cinema and the Idea of Black Film. Duke University Press, 2016, 248 Pp., 50 B&W Illus., $23.95 Paper. [REVIEW]Kevin Jack Hagopian - 2018 - Journal of Aesthetics and Art Criticism 76 (1):119-123.
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  5. How Movies Do Philosophy.Wack Daniel - 2014 - Film and Philosophy 18:89-104.
  6. Scotland as a Site of Sacrifice.Marmysz John - 2014 - Film International 12 (2):6-17.
    Friedrich Nietzsche delineates three stages of sacrificial behavior. The first stage consists of the sacrifice of particular human beings to a god. The second stage involves the sacrifice of one’s own instincts to a god, and the third stage culminates in the sacrifice of God himself. This last stage describes the death of God and signals the “final cruelty” of our present times. Our age is the age of nihilism, the point in history during which humans “sacrifice God for the (...)
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  7. The Lure of the Mob: Contemporary Cinematic Depictions of Skinhead Authenticity.John Marmysz - 2013 - Journal of Popular Culture 46 (3):626-646.
    In this paper I examine the history and style of the real-life skinhead subculture in order to clarify its nature and to highlight its preoccupation with the ideal of "authenticity." I then use the insights thus gained in order to understand why it is that the skinhead characters in such fictional films as Romper Stomper, American History X and The Believer are, despite their neo-Nazism, granted a sympathetic depiction.
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  8. Fantasy Audiences Versus Fantasy Audiences.Martin Barker - 2009 - In Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies. Routledge.
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  9. Genre.Brian Laetz & Dominic McIver Lopes - 2008 - In Paisley Livingston & Carl Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge. pp. 152-161.
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  10. Critical Theory and Film: Rethinking Ideology Through Film Noir.Fabio Vighi - unknown
    Critical Theory and Film brings together critical theory and film to enhance the critical potential of both. The book focuses on the Frankfurt School, most notably the works of Adorno and Horkheimer, as well as associated thinkers. It seeks to demonstrate that cinema can help critical theory repoliticize culture and society and affirm the theoretical and political impact of cinematic knowledge. After discussing how the Frankfurt School saw cinema as an instrument of capitalism use to promote the cultural and political (...)
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