Abstract

This article connects the theory of Hannah Arendt and the philosophy of Stanley Cavell to the questions of what thinking is and how it appears on film. It focuses on two theatrical trials: Adolph Eichmann’s trial (1961) and the ending sequence in Frank Capra’s Mr. Deeds Goes to Town (1936) in which the questions of thought and thoughtlessness are at stake. Whereas Arendt considers the ways that thinking poses challenges to representation (there is, she writes, a “scarcity of documentary evidence”), Cavell turns to cinema and the camera’s “knowledge of the metaphysical restlessness” that becomes manifest when the mind thinks and the body fidgets. He goes so far as to argue that cinema may even “prove thinking.” Though they arrive at opposite conclusions, Cavell and Arendt share a critique of modern subjectivity that these trials bring to light: reason has replaced thinking and skepticism of the world has replaced consciousness in it. But film, as read through Cavell, may reveal a crisis of altogether different order. It is not that thinking cannot be represented, as Arendt argues; in the age of cinema, thinking cannot be concealed. If anything, thoughtlessness defies representation.