Year:

  1.  39
    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 (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  2. Editor's Introduction.Laura T. Di Summa - 2022 - Film and Philosophy 26:3-6.
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  3.  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 (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  4.  1
    Tenet, Climate Change, and the Misdirection of Interpretation.Ben Roth - 2022 - Film and Philosophy 26:85-101.
    Christopher Nolan’s seems a spy thriller in which a government operative saves the world. As others have noted, it is in a larger sense about climate change—even though it mentions it but once. Where the film has been dismissed as not saying anything substantial, or even read as promoting an activist message, I argue it is most coherently interpreted as a reactionary defense of the status quo. The film is about a war between the present and future, its heroes those (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  5.  7
    There’s Always More Show.Enrico Terrone - 2022 - Film and Philosophy 26:55-67.
    This paper casts the television series BoJack Horseman as a challenge to the genre that Stanley Cavell calls “the comedy of remarriage.” First, it is argued that the last season of the series explicitly suggests but finally contradicts the narrative pattern of the comedy of remarriage. Then, the impossibility of remarriage in BoJack Horseman is traced back to some structural features of the medium of television and its relationship to time. Finally, the impossibility of remarriage in BoJack Horseman is related (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  6.  2
    Particles of Light.Stephen Turner - 2022 - Film and Philosophy 26:103-122.
    This article addresses recent science fiction films about the colonization of outer worlds, or space-steading, in the context of the longer colonial history of the frontier. Paying particular attention to Interstellar, Serenity and The Wild Blue Yonder, I argue that colonizing outer space is not only a race to the new frontier, but that this takes place because technologies that picture space have quickened the pulse. Through its imagining of the end of times as a reiteration of colonizing adventure, and (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  7.  2
    Noël Carroll, Philosophy and the Moving Image. [REVIEW]Thomas E. Wartenberg - 2022 - Film and Philosophy 26:143-148.
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  8.  5
    Towards a Definition of Black Cinematic Horror.Nicholas Whittaker - 2022 - Film and Philosophy 26:23-40.
    In this essay, I sketch a preliminary, phenomenological definition of black horror cinema. I argue that black horror films are films in which blackness and antiblackness are depicted as unintelligible. I build this definition first by arguing that horror films generally evoke a mood of Heideggerian uncanniness, by which I mean that they create a global affective state in which the world is experienced as unintelligible. I then turn to the Afropessimist theorizing of Frank B. Wilderson, who proposes both that (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  9. Which Way Down the Slippery Slope? Arkangel or Digital Pacifier?K. C. Lorraine Yeung - 2022 - Film and Philosophy 26:41-53.
    The Black Mirror episode “Arkangel” tells a disturbing story of over-parenting driven by technology. The single mother Marie’s adoption of the Arkangel system has invited overwhelmingly negative moral evaluation from philosophers. But what accounts for the moral failure of a loving and concerned parent? Is it all about her flawed character, or are there situational factors at work? In the article, I first foreground the slipperiness of technology implicated in Albert Borgmann’s notion of the “device paradigm” and Hans Jonas’s analysis (...)
     
    Export citation  
     
    Bookmark  
  10.  16
    Which Way Down the Slippery Slope: Arkangel or Digital Pacifier?Lorraine K. C. Yeung - 2022 - Film and Philosophy 26:41-53.
    The Black Mirror episode “Arkangel” tells a disturbing story of over-parenting driven by technology. The single mother Marie’s adoption of the Arkangel system has invited overwhelmingly negative moral evaluation from philosophers. But what accounts for the moral failure of a loving and concerned parent? Is it all about her flawed character, or are there situational factors at work? In the article, I first foreground the slipperiness of technology implicated in Albert Borgmann’s notion of the “device paradigm” and Hans Jonas’s analysis (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  11.  11
    Fennell's Promising Young Woman and Furious Women in Film.Caitlin A. York - 2022 - Film and Philosophy 26:1-22.
    Emerald Fennell’s debut feature Promising Young Woman incisively examines sexual assault, misogyny, and the culture of complicity that continues to perpetuate `violence against women. This article will establish Fennell’s aptitude as a filmmaker in condemning the pervasive forces of patriarchal social order in harmony with Kate Manne’s account of structural misogyny analyzed in Down Girl and Entitled. Fennell’s subversion of genre standards demonstrates how the actions of individuals, separate from the perpetrator, lead to additional acts of harm, and addresses the (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
 Previous issues
  
Next issues