Authors
Aaron Smuts
Rhode Island College
Abstract
I argue for a position close to what Paisley Livingston calls the bold thesis of cinema as philosophy. The bold thesis I defend is that films can make innovative, independent philosophical contributions by paradigmatic cinematic means. I clarify the thesis before presenting what Livingston thinks is a fatal problem for any similar position—the problem of paraphrase. As an example in defense of the bold thesis, I offer the "For God and Country" sequence in Sergei Eisenstein’s October (1928). I argue that this scene offers an analogical argument similar in form to what some think Nietzsche presents in the Genealogy of Morality. Moreover, I argue that the argument presented in October is independent, could have been innovative, and is presented via the paradigmatic cinematic means of montage.
Keywords film and philosophy  art and knowledge  Nietzsche  Eisenstein  Bold Thesis  filmosophy
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DOI 10.1111/jaac.2009.67.issue-4
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References found in this work BETA

A Defense of Abortion.Judith Jarvis Thomson - 1971 - Philosophy and Public Affairs 1 (1):47-66.
Theses on Cinema as Philosophy.Paisley Livingston - 1991 - Journal of Aesthetics and Art Criticism 64 (1):11–18.

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Citations of this work BETA

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.
Fictionalism About Musical Works.Anton Killin - 2018 - Canadian Journal of Philosophy 48 (2):266-291.
Quaderns de filosofia V, 1.Quad Fia - 2018 - Quaderns de Filosofia 5 (1).

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