About this topic
Summary

When many people hear "philosophy of film" they think "philosophy through film." That is, they think of work on the philosophical contributions made by film.  This middle category is home to work that explores the philosophy found in movies and philosophy done in conjunction with a film. It contains both philosophy in film and philosophy through film. The most common approach is that addressing a single film. Less common, some address the philosophy of a filmmaker. And, even less common, some work on the philosophical insights to be had from particular genres of film, such screwball comedy and the western.

Key works The special issue of the Journal of Aesthetics and Art Criticism on the philosophy of film (Smith & Wartenberg 2006) features several essays exploring the philosophic potential of film.  The exchange between Livingston 1991 and Smuts 2009 provides a good introduction to question, Can film do philosophy? Grau 2005 is an excellent example of philosophy through film.
Introductions Livingston 2010 provides an introduction to the area.
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  1. added 2020-05-20
    Existentialism and Monty Python: Kafka, Camus, Nietzsche, and Sartre.Edward Slowik - 2006 - In George Reisch & G. Hardcastle (eds.), Monty Python and Philosophy. Chicago, IL: Open Court: pp. 173-186.
    This essay utilizes the work of the comedy group, Monty Python, as a means of introducing basic concepts in Existentialism, especially as it pertains to the writings of Nietzsche, Sartre, and Camus.
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  2. added 2020-05-02
    Der Mensch im Spiegel seiner (Bild-) Schöpfung: Die ästhetisierte Anthropologie des Kamera-Auges in „Chelovek s kino-apparatom“ und „Blade Runner“.Peter Remmers - 2020 - Internationales Jahrbuch für Philosophische Anthropologie 9 (1):277-294.
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  3. added 2020-04-20
    Still Life in a Narrative Age: Charlie Kaufman's Adaptation.Joshua Landy - 2011 - Critical Inquiry 37 (3):497-514.
    We are living in an age that is narratively obsessed: both in the academy and in popular culture, temporally articulated phenomena currently exert a vice-like grip over the collective imagination. Under such conditions, how may non-narrative sources of aesthetic power be made available once again to human observers? Charlie Kaufman’s response, in Adaptation, takes the form not of statements but of actions, of “philosophical therapy” for our insatiable narrative hunger. It leaves us, in the end, with two phenomena that have (...)
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  4. added 2020-04-14
    Cinéthique.Hugo Clémot - 2018 - Paris, France: Vrin.
    The moral importance of films to viewers is a dimension of the cinematic experience that has long been neglected. By describing the moral education powers of film, this book aims to encourage philosophers to practice the ethical reading of film works. This exercise helps to make intelligible important features of our lives, which academic forms of discourse tend to overlook. Taking our experience of films seriously should even reorient our conception of the tasks of ethics and the ways of doing (...)
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  5. added 2020-04-14
    La philosophie d'après le cinéma. Une lecture de La projection du monde de Stanley Cavell.Hugo Clémot - 2014 - Rennes, France: Presses Universitaires de Rennes.
    It is around The World Viewed, a famous book by Stanley Cavell (1979), that the reflections of this work are aggregated. By reading the writer's work slowly and patiently, Hugo Clémot offers a reading of his cinematographic and philosophical thought, enlightened by Wittgensteinian sources and by Cavell's work as a whole.
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  6. added 2020-03-17
    Cinematic Realism: A Defence From Plato to Gaut.Rafe McGregor - 2018 - British Journal of Aesthetics 58 (3):225-239.
    The purpose of this paper is to defend a particular kind of cinematic realism, anti-illusionism, which is the thesis that cinematic motion is real. Following a brief introduction to realism and cinema in Section 1, I analyse Berys Gaut’s taxonomy of cinematic realism and define anti-illusionism in Section 2. Section 3 contrasts the anti-illusionist theories of Gregory Currie and Trevor Ponech with the illusionist theories of Andrew Kania and Gaut. I reconceptualize the debate in terms of Tom Gunning’s cinematic animation (...)
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  7. added 2020-03-10
    Portraits of Egoism in Classic Cinema II: Negative Portrayals.Gary James Jason - 2015 - Reason Papers 37 (1).
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  8. added 2020-03-03
    “You Ain’T Gonna Get Away Wit’ This, Django”: Fantasy, Fiction and Subversion in Quentin Tarantino’s, Django Unchained.Jack Black - 2019 - Quarterly Review of Film and Video 36 (7):611-637.
    From 2009 to 2015, U.S. director, Quentin Tarantino, released three films that were notable for their focus on particular historical events, periods and individuals (Inglorious Basterds 2009; Django Unchained 2012; The Hateful Eight 2015). Together, these films offered a specifically “Tarantinian” rendering of history: rewriting, manipulating and, for some, unethically deploying history for aesthetic effect. With regard to Django Unchained, this article examines how Tarantino’s historical revisionism provides a valuable point of inquiry into the ways in which “history” is depicted (...)
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  9. added 2020-01-28
    The Eyes of God.Nigel R. Shadbolt & Paul Smart - 2020 - In Timothy Shanahan & Paul R. Smart (eds.), Blade Runner 2049: A Philosophical Exploration. Abingdon, UK: pp. 206–227.
  10. added 2020-01-19
    Travolta’s Elvis-Man and the Nietzschean Superman.Ian Schnee & Bence Nanay - 2007 - In K. Silem Mohammad & Richard Greene (eds.), Quentin Tarantino and Philosophy. Chicago: Open Court.
    Vincent Vega from Pulp Fiction and the Nietzschian Superman!!!
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  11. added 2020-01-10
    The Wartenberg-Smith Film as Philosophy Debate: Review of Current Controversies in Philosophy of Film. [REVIEW]Diana Neiva - 2019 - American Society for Aesthetics Graduate E-Journal 11 (1):1-13.
  12. added 2019-12-11
    European Cinema and Continental Philosophy: Film as Thought Experiment, by Thomas Elsaesser. [REVIEW]Ekin Erkan - 2019 - Alphaville 18:232–238.
    Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser concedes that there (...)
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  13. added 2019-10-22
    Love, Death and Life's Summum Bonum: The Before Trilogy as Memento Mori.Anna Christina Ribeiro - manuscript
    Before Sunrise, Before Sunset, and Before Midnight are best seen as an example of memento mori art. Memento mori, the admonition to remember death, can take many forms, but the idea remains the same, namely that an awareness of our inevitable end should bear on how we live. I show how Richard Linklater’s warning works in each of the movies and consider whether he makes a successful case for love’s being life’s summum bonum. COMMENTS WELCOME.
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  14. added 2019-10-17
    The Palgrave Handbook of Posthumanism in Film and Television by Michael Hauskeller, Thomas Philbeck, and Curtis Carbonell (Review). [REVIEW]Lantz Fleming Miller - unknown - Film and History 49 (2):94-96.
    Science fiction has served the film industry like a dreamy stepchild. It gets only scant accolades from its master but must do heavy lifting: that is, make money. While science-fiction films often emphasize spectacle and action, they also inspire philosophical contemplation. Why? Science fiction, dating back to Shelley and Verne, came into existence speculating about humanity's social and physical worlds. Many books and articles over the past several years discuss the philosophical issues that films raise. One fairly new school of (...)
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  15. added 2019-09-12
    Can Film Show What Philosophy Won't Say? The "Film as Philosophy" Debate, and a Reading of Rashomon.Jônadas Techio - 2018 - Dissertatio 47 (S6):69-105.
    Seguindo os passos de Stanley Cavell e de Stephen Mulhall, argumentarei neste artigo que o cinema pode oferecer contribuições genuínas para a filosofia. Para tanto procurarei mostrar que os principais obstáculos para considerar o cinema como capaz de fazer filosofia derivam de pontos de vista bastante restritivos sobre a natureza da racionalidade, da cognição, do significado - e, finalmente, da filosofia e do cinema eles mesmos. Apresentarei alguns desses obstáculos e indicarei formas de removê-los, adotando uma interpretação mais ampla dessas (...)
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  16. added 2019-09-10
    Philosophical Dimensions of Cinematic Experience.David Davies - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. New York: Routledge. pp. 135-156.
    This chapter critically examines the idea that some cinematic artworks “do philosophy”. It is argued that any interesting “film as philosophy” thesis must satisfy two conditions: (FP1) In any advance in philosophical understanding attributable to a cinematic artwork, the philosophical content through which such an advance is accomplished must be articulated in a manner that is distinctively cinematic, on a proper understanding of the latter; (FP2) The advance in philosophical understanding attributable to a cinematic artwork must occur in the course (...)
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  17. added 2019-09-10
    Philosophical Experience and Experimental Film.Chris Falzon - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. New York: Routledge. pp. 159-173.
    One way that philosophy can be related to film is via the notion of experiment. This connection is usually discussed in terms of similarities between film and the thought experiments that can be found within philosophical texts. However, rather than subsuming film to the philosophical thought experiment, which risks missing what film itself contributes to the proceedings, it is more interesting to see how the cinematic medium might allow for forms of experimentation that go beyond what can be undertaken within (...)
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  18. added 2019-09-10
    Are There Definite Objections to Film as Philosophy? Metaphilosophical Considerations.Diana Neiva - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. Nova Iorque, NY, Estados Unidos: pp. 116-134.
    The “film as philosophy” (FAP) hypothesis turned into a field if its own right during the 2000s, after S. Mulhall’s On Film (2001). In this work, Mulhall defended that some films philosophize for themselves. This caused controversy. Around the same time of On Film’s release, B. Russell published the article “The philosophical limits of film” (2000). This article had one of the first attacks against FAP, posing some main objections based on metaphilosophical grounds, which were called the “generality” and the (...)
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  19. added 2019-09-10
    The Bold Thesis Retried: On Cinema as Philosophy.Paisley Livingston - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. New York: Routledge. pp. 81-91.
    This paper begins by presenting a simple model that maps some salient positions on the topic of cinema as philosophy, including the very strong claims that are constitutive of what has been stipulated to be “the bold thesis.” It is contended that examples that have been adduced in the literature as substantiating that bold thesis in fact only support weaker claims. It is argued in favor of accepting some such theses on the topic. It is then introduced a number of (...)
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  20. added 2019-08-23
    Navigating Agamben’s Cinematic Paradox Via Laruellean Immanence: A Hacktivist Cast Study.Ekin Erkan - 2019 - MediaCommons 8:1-23.
    While many film theorists declare Agamben as, in equal part, a Deleuzian film theorist, I pose that, through this Benjaminian lens, we can parse distinctive cinematic questions that Agamben exclusively pursues - in particular, cinema's potential as a repurposive counter-dispositif to combat dominant forms via critique. This is not to suggest that parallels do not exist between Agamben and Deleuze’s approaches: as Meillassoux has noted, Deleuze's logic of representation (also known as "correlationism") develops an "image of thought that attempts to (...)
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  21. added 2019-06-14
    Volodymyr Vynnychenko and the Early Ukrainian Decadent Film (1917–1918).Kirillova Olga - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:52-55.
    The article is focused on the phenomenon of the early Ukrainian decadent cinema, in particular, in relation to filmings of Volodymyr Vynnychenko’s dramaturgy. One of the brightest examples of ‘film decadence’ in Vynnychenko’s oevre is “The Lie” directed by Vyacheslav Vyskovs’ky in 1918, discovered recently in the film archives. This film displays the principles of ‘ethical symbolism’, ‘dark’ expressionist aesthetics and remains the unique masterpiece of specifically Ukranian film decadence.
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  22. added 2019-06-14
    Поезія і/чи проза: до археології однієї дискусії в радянському кіно.Briukhovetska Olga - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:33-41.
    У дослідженні проаналізовано теоретичні джерела і політичні наслідки статті московського кінокритика М. Блеймана «Архаїсти чи новатори?» (1970), яку вважають обґрунтуванням заборони школи українського поетичного кіно як «безперспективного» напряму. Статтю М. Блеймана вміщено в контекст дискусії про поетичне і прозаїчне кіно, яку систематизовано щодо двох підходів: нормативного, який вважає лише один із напрямів кіно релевантним його природі (йому відповідає сполучник «чи»), і плюралістичного, який розглядає обидва напрями як актуалізації різних кінематографічних потенцій згідно з тими завданнями, що ставлять режисери (йому відповідає сполучник (...)
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  23. added 2019-06-13
    Філософія кіно, метод моделювання та проблема декадентського кінотвору.Olga Kirillova - 2018 - NaUKMA Research Papers. History and Theory of Culture 1:17-23.
    Статтю присвячено реконструкції узагальненої моделі твору декадентського кінематографа як стилізованого кінематографа moderne, що є яскравим прикладом застосування філософської інтерпретації до кінематографа і феномену кінореальності. Ця модель має такі рівні: морфологічний, стилістичний, інтертекстуальний, ритмічний, аудіальний, тактильний, монтажний, специфічно-антропологічний і специфічно-наративний.
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  24. added 2019-03-10
    Dancing Like a Man: A Phenomenological Study of Gender, Class and Sexuality.Ellen Miller - 2009 - In Karen Weekes (ed.), Privilege and Prejudice: Twenty Years with the Invisible Knapsack. Cambridge Scholars Publishing. pp. 145-172.
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  25. added 2019-03-07
    Feeling the Gaze: Narrative Empathy in A Time to Kill.Tanya Rodriguez - 2013 - Revista Portuguesa de Filosofia 69 (3-4):701-716.
    Resumo Neste artigo, defender-se-á uma interpretação do filme A Time to Kill, como sendo uma narrativa cinematográfica falível, mesmo sem a presença de um narrador. Neste texto, assume-se, que uma narrativa falível resulta de um defeito estético e ético do filme. Deste modo, a estrutura estética do filme representa a intenção do realizador em contar a sua versão da história, influenciando assim o seu significado e efeito empático. Com o evoluir da narrativa cinematográfica, as regras de inferência tornam-se cada vez (...)
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  26. added 2019-02-02
    Could a Heptapod Act? Language and Agency in Arrival.James Pearson - 2019 - Film and Philosophy 23:48-68.
    Arrival offers a useful thought experiment in the philosophy of mind and language. Assessing human linguists' interpretive efforts to understand the alien heptapod form of life in both the movie and the novella from which it was adapted (Ted Chiang’s “Story of Your Life”) teach us how our understanding of selfhood shapes our conception of agency. Arrival’s reflexive commentary on the cinematic experience is also an argument for the value of learning to communicate in cinematic language.
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  27. added 2019-01-31
    The Routledge Companion to Philosophy and Film. [REVIEW]Paloma Atencia-Linares - 2010 - Disputatio 3 (28):317-320.
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  28. added 2018-12-11
    The Phantasmatic Reality: A Phenomenological Study of the Cinematic Imagination.Przemysław Bursztyka - 2017 - In Christine Reeh & José Manuel Martins (eds.), Thinking Reality and Time through Film. Cambridge, UK: Cambridge Scholars Publishing. pp. 35-47.
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  29. added 2018-10-27
    Can Films Philosophize? The Rationality and Imposition Objections.Diana Neiva - 2018 - Dialectic Journal 12 (I):22-29.
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  30. added 2018-09-20
    Johnny Cash and Philosophy: Burning Ring of Truth.John Huss & David Werther (eds.) - 2008 - Chicago: Open Court.
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  31. added 2018-08-10
    Consumerism, Aristotle and Fantastic Mr. Fox.Matt Duncan - 2015 - Film-Philosophy 19 (1):249-269.
    Wes Anderson's Fantastic Mr. Fox is about Mr. Fox's attempt to flourish as both a wild animal and a consumer. As such, this film raises some interesting and difficult questions about what it means to be a member of a certain kind, what is required to flourish as a member of that kind, and how consumerism either promotes or inhibits such flourishing. In this paper I use Fantastic Mr. Fox as an entry point into an examination of the relationship between (...)
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  32. added 2018-02-18
    Introducing Philosophy Through Film: Key Texts, Discussion, and Film Selections.Richard A. Fumerton & Diane Jeske (eds.) - 2009 - Wiley-Blackwell.
    _Philosophy Through Film_ offers a uniquely engaging and effective approach to introductory philosophy by combining an anthology of classical and contemporary philosophical readings with a discussion of philosophical concepts illustrated in popular films. Pairs 50 classical and contemporary readings with popular films - from Monty Python and _The Matrix_ to _Casablanca_ and _A Clockwork Orange_ Addresses key areas in philosophy, including topics in ethics, philosophy of religion, philosophy of mind, free will and determinism, the problem of perception, and philosophy of (...)
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  33. added 2017-06-14
    Cinephilia and Philosophia: Or, Why I Don't Show The Matrix in Philosophy 101.Timothy Yenter - 2017 - In Rashna Wadia Richards & David T. Johnson (eds.), For the Love of Cinema: Teaching Our Passion In and Outside the Classroom. Bloomington, IN: Indiana University Press.
    The shelves of film and philosophy books should have made it considerably easier to teach with films in introductory philosophy classes, and certainly many philosophers have found them useful. However, shortcomings of many of these pop culture volumes (which I discuss in the next section) make these works rarely useful in the classroom. I propose instead a new model for how to teach film in a philosophy class. The model develops the virtues inherent in cinephilia and connects those virtues to (...)
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  34. added 2017-04-13
    Rivette’s The Nun: Religion Between Sadism and Masochism.Stellino Paolo - 2016 - Journal of Religion and Film 20 (1):Article 8.
  35. added 2017-03-13
    How Movies Do Philosophy.Wack Daniel - 2014 - Film and Philosophy 18:89-104.
  36. added 2017-03-13
    Medium and the 'End of the Myths': Transformation of the Imagination in The World Viewed.Wack Daniel - 2013 - Conversations: A Journal of Cavellian Studies 1:43-66.
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  37. added 2017-01-15
    Philosophy Through Film.Mary M. Litch - 2002 - Routledge.
    Some of the world’s best-loved films can be used as springboards for examining enduring philosophical questions. _Philosophy Through Film_ provides guidance in how to watch films with an eye for their philosophical content, helping students become familiar with key topics in all of the major areas in Western philosophy, and helping them master the techniques of philosophical argumentation. The perfect size and scope for a first course in philosophy, _Philosophy Through Film_ assumes no prior knowledge of philosophy. It is an (...)
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  38. added 2017-01-14
    Philosophy Through Film.Mary M. Litch & Amy Karofsky - 2002 - Routledge.
    Many of the classic questions of philosophy have been raised, illuminated, and addressed in celluloid. In this Third Edition of _Philosophy through Film,_ Mary M. Litch teams up with a new co-author, Amy Karofsky, to show readers how to watch films with a sharp eye for their philosophical content. Together, the authors help students become familiar with key topics in all of the major areas in Western philosophy and master the techniques of philosophical argumentation. The perfect size and scope for (...)
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  39. added 2016-12-27
    The Cognitive Value of Blade Runner.McGregor Rafe - 2015 - Aesthetic Investigations 1 (2).
    The purpose of this essay is to argue that Blade Runner: The Final Cut (Ridley Scott, 2007) has cognitive value which is inseparable from its value as a work of cinema. I introduce the cinematic philosophy debate in §1. §2 sets out my position: that the Final Cut affirms the proposition there is no necessary relation between humanity and human beings. I outline the combination of cinematic depiction with distinctive features of the narrative’s peripeteia in §3. In §4, I explain (...)
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  40. added 2016-12-08
    The Logic of Failures of the Cinematic Imagination: Two Case Studies – and a Logical Puzzle and Solution in Just One.Joseph S. Fulda - 2013 - Pragmatics and Society 4 (1):105-111.
    This piece is intended to explicate - by providing a precising definition of - the common cinematic figure which I term “the failure of the cinematic imagination,“ while presenting a logical puzzle and its solution within a simple Gricean framework. -/- It should be noted that this is neither fully accurate nor fully precise, because of the audience; one should examine the remaining articles in the issue to understand what I mean.
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  41. added 2016-12-08
    Seeing the Light: Exploring Ethics Through Movies.Wanda Teays - 2012 - Wiley-Blackwell.
    _Seeing the Light: Exploring Ethics Through Movies_ is an engaging and innovative approach to the study of philosophy and the development of moral reasoning skills. Features broad coverage of topics in ethics and moral reasoning Offers an innovative and imaginative approach to showing relevance of movies for ethical reflection Draws on a diverse selection of popular movies, foreign films, and documentaries to illustrate ethical dilemmas and character development on the big screen that has application to our lives Presents coverage of (...)
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  42. added 2016-12-08
    Thinking Through Film: Doing Philosophy, Watching Movies.Damian Cox & Michael P. Levine - 2011 - Wiley-Blackwell.
    An introduction to philosophy through film, _Thinking Through Film: Doing Philosophy, Watching Movies_ combines the exploration of fundamental philosophical issues with the experience of viewing films, and provides an engaging reading experience for undergraduate students, philosophy enthusiasts and film buffs alike. An in-depth yet accessible introduction to the philosophical issues raised by films, film spectatorship and film-making Provides 12 self-contained, close discussions of individual films from across genres Films discussed include Total Recall, Minority Report, La Promesse, Funny Games, Ikuru, The (...)
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  43. added 2016-12-08
    Terminator and Philosophy: I'll Be Back, Therefore I Am.Kevin S. Decker & Richard Brown (eds.) - 2009 - Wiley.
    A timely book that uses science fiction to provoke reflection and discussion on philosophical issues From the nature of mind to the ethics of AI and neural enhancement, science fiction thought experiments fire the philosophical imagination, encouraging us to think outside of the box about classic philosophical problems and even to envision new ones. Science Fiction and Philosophy explores puzzles about virtual reality, transhumanism, whether time travel is possible, the nature of artificial intelligence, and topics in neuroethics, among other timely (...)
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  44. added 2016-12-05
    A View to a Kill: Perspectives on Faux-Snuff and Self.Steve Jones - 2016 - In Neil Jackson, Shaun Kimber, Johnny Walker & Thomas Watson (eds.), Snuff: Real Death and Screen Media. Bloomsbury Academic. pp. 277-294.
    Scholarly debate over faux-snuff’s content has predominantly focused on realism and affect. This paper seeks to offer an alternative interpretation, examining what faux-snuff’s form reveals about self. Faux-snuff is typically presented from a first-person perspective (killer-cam), and as such is foundationally invested in the killer’s experiences as they record their murder spree. First then, I propose that the simulated-snuff form reifies self-experience in numerous ways. Faux-snuff’s characteristic formal attributes capture the self’s limited, fractured qualities, for example. Second, I contend that (...)
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  45. added 2016-12-05
    Philosophers Explore the Matrix.Christopher Grau (ed.) - 2005 - Oxford University Press.
    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 (...)
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  46. added 2016-11-20
    A Double-Edged Sword: Honor in "The Duellists".James Edwin Mahon - 2013 - In Alan Barkman, Ashley Barkman & Nancy King (eds.), The Culture and Philosophy of Ridley Scott. Lexington Books. pp. 45-60.
    In this essay I argue that Ridley Scott's first feature film, The Duelists, which is an adaptation of a Joseph Conrad novella, contains his deepest meditation on honor in his entire career. The film may be said to answer the following question about honor: is being bound to do something by honor, when it is contrary to one's self-interest, a good thing, or a bad thing? It may be said to give the answer that it may be either good or (...)
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  47. added 2016-10-28
    Memento.Andrew Kania (ed.) - 2009 - Routledge.
    Within a short space of time, the film Memento has already been hailed as a modern classic. Memorably narrated in reverse, from the perspective of Leonard Shelby, the film’s central character, it follows Leonard’s chaotic and visceral quest to discover the identity of his wife’s killer and avenge her murder, despite his inability to form new long-term memories. This is the first book to explore and address the myriad philosophical questions raised by the film, concerning personal identity, free will, memory, (...)
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  48. added 2016-10-17
    Le plan subjectif réversible: Sur le point de vue au cinéma à partir des écrits de Merleau-Ponty.Anna Caterina Dalmasso - 2016 - Studia Phaenomenologica 16:135-162.
    When I am watching a movie, I perceive on the screen a space, which is united and lived, even if it appears as fragmented and separated from the world in which I live. But is the space of the cinematic frame equivalent or commensurable with the one I see through my own eyes? Are they opposed to each other or do they merge together? The most amazing example of the possible convergence of gaze and frame the film realizes is the (...)
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  49. added 2016-09-29
    The Routledge Companion to Philosophy and Film. [REVIEW]Ted Nannicelli - 2012 - International Journal of Philosophical Studies 20 (5):763-766.
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  50. added 2016-09-05
    Nihilism Reconstruction and the Hero's Journey.Raymond Aaron Younis - 2007 - In Angela Ndalianis Wendy Haslem & Chris Mackie (eds.), Super/Heroes. New Academia. pp. 97-111.
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