Abstract

This article considers aspects of Stanley Cavell’s film-philosophy in the light of Paul Thomas Anderson’s 2017 film Phantom Thread, and vice versa. Methodologically, it concentrates on the interpretation of Cavell’s writing and of Anderson’s film. In arguing that Phantom Thread has affinities with Cavell’s famous cinematic genre of remarriage comedy, the article addresses Cavell’s understanding of the production of what Wittgenstein calls “criteria.” Affirming Steven J. Affeldt’s insistence that the production of criteria is occasioned by crisis, the article explores the claim that Phantom Thread can be viewed as the story of the production of criteria in response to a situation of interpersonal confusion and disorientation, criteria according to which a remarriage may, or may not, eventually take place. The results of this enquiry, it is hoped, will help both to clarify aspects of Cavell’s philosophy and to articulate something of the nature of the distinctive cinematic achievement that Anderson’s film represents.