Journal of Aesthetics and Art Criticism 67 (3):409-420 (2009)
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|
|Categories||categorize this paper)|
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
Teaching & Learning Guide For: Cinema as Philosophy.Paisley Livingston - 2010 - Philosophy Compass 5 (4):359-362.
The Physical Church–Turing Thesis: Modest or Bold?Gualtiero Piccinini - 2011 - British Journal for the Philosophy of Science 62 (4):733 - 769.
Representation and Resemblance: A Review Essay of Richard A. Watson's Representational Ideas. From Plato to Patricia Churchland.T. C. Meyering - 1997 - Philosophical Psychology 10 (2):221 – 230.
Cinema, Philosophy, Bergman: On Film as Philosophy.Paisley Livingston - 2009 - Oxford University Press.
Added to index2009-07-20
Total downloads172 ( #26,339 of 2,164,579 )
Recent downloads (6 months)9 ( #36,281 of 2,164,579 )
How can I increase my downloads?