Film as Philosophy: In Defense of a Bold Thesis


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
Categories (categorize this paper)
DOI 10.1111/jaac.2009.67.issue-4
Options
Edit this record
Mark as duplicate
Export citation
Find it on Scholar
Request removal from index
Revision history

Download options

Our Archive


Upload a copy of this paper     Check publisher's policy     Papers currently archived: 41,650
Through your library

References found in this work BETA

No references found.

Add more references

Citations of this work BETA

Fictionalism About Musical Works.Anton Killin - 2018 - Canadian Journal of Philosophy 48 (2):266-291.

Add more citations

Similar books and articles

Analytics

Added to PP index
2009-07-20

Total views
235 ( #26,216 of 2,249,958 )

Recent downloads (6 months)
20 ( #38,861 of 2,249,958 )

How can I increase my downloads?

Downloads

My notes

Sign in to use this feature