New Takes in Film-Philosophy offers a space for the advancement of the film-philosophy debate by some of its major figures. Fifteen leading academics from Philosophy and Film Studies develop new approaches to film-philosophy, broaden theoretical analyses of the topic and map out problems and possibilities for its future. The collection examines theoretical issues about the relationship between film and philosophy; looks at the relationships film-philosophy has to other media such as photography and literature; and applies theoretical approaches to particular films (...) and directors. Written in a clear style that assumes no previous knowledge of any particular philosopher, this collection will appeal to advanced students and scholars in philosophy, film studies, cultural studies, media studies and the arts. _. (shrink)
More people desperately require an organ than become donors themselves. When discussing organ donation, people mainly consider the question whether they want to donate, whereas empirically they are more likely to be on the receiving end. So it is rational for each of us to join the organ donor register and to agree to donate our relative’s organs, if we are ever in that situation.
This paper offers a reading of Todd Solondz Happiness (1998) in relation to Lacan’s notion of sexual difference. It argues that both the film and theorist present a ‘logic’ of sexuality and sexual difference which seems to owe much to Hegel’s master-slave dialectic but that in the end owes more to Kojève’s (mis)reading than to Hegel himself. It outlines the usefulness of an expanded notion of the dialectic to understand sexual difference through the inclusion of the Hegelian figures of the (...) stoic, the sceptic and the unhappy consciousness. It also suggest that the priority of identity and non-identity to dialectic logic has been obscured by this focus on the master-slave relationship and that an analysis of the role of the autoerotic develops modes of sexual similarity and difference that cuts across heteronormative gender lines. The anxiety both Lacan and the film seem to suffer with regard to autoerotic is then used to critique their sexual conservatism and their prescriptive rather than descriptive representation of sexual relationships. (shrink)