The second season of True Detective bears many marks of a classic urban‐noir crime drama. The city is a central character of the narrative. And the relationship between the detectives and the city is one of the crucial elements of the story. This is most obvious in the case of Vinci Detective Ray Velcoro, and apparent to a lesser degree in the cases of Ani Bezzerides and Paul Woodrugh. This chapter examines the philosophical aspect of the relationship (...) between the detective and the city, comparing it to a classical view of the relationship between philosophy and the city, presented by Plato over two millennia ago in his dialogues Apology and The Republic. The Apology tells the story of Socrates on trial. There are some parallels between Socrates and the noir detective on this score, but there are some stark differences as well. (shrink)

What happens when theory falters? A concern with the anthropocentric limitations of critical thought dominates contemporary cultural theory. For Joanna Zylinska, however, this concern often reflects a longstanding humanist anxiety, one that is today renewed in the form of ‘noir theory’, a reactionary scholarship that redeems the universalist human as the subject of reason. There is, though, more than one mode of noir theory, and a certain tendency of ‘noir’ affords the basis for theorizing another kind of (...) universalism, a non-reactionary account of the real. This article takes seriously the allusion to noir as a particular mode of detection. Its investigation begins with Gilles Deleuze, who commends crime fiction for providing an image of thought that works against humanist orthodoxy. Yet present circumstances demand investigating a blacker kind of noir, one that operates negatively, a noir theory that can be detected in the strange realism of François Laruelle. (shrink)

The possibility of a love strong enough to overcome the corruption and violence of the world of film noir is a promise that frequently seduces the protagonist, but it ultimately proves to be illusory—and often fatal. Many film noirs share three major elements with Veronica Mars: a corrupt world in which the story is set; a love interest; and protagonist who becomes obsessed with uncovering the truth whatever the costs. The centerpiece of Veronica Mars's transformation of the film (...) class='Hi'>noir paradigm is making the noir detective a teenage girl. In film noir the inhabitants of a corrupt world attempt to free themselves from bad situations but find themselves doomed to fail. One of the most radical and interesting ways in which Veronica Mars reimagines the genre is by reversing the genders between the film noir's protagonist and its femme fatale. (shrink)

Explores the figure of the detective as a pursuer of knowledge in four noir films.

This paper discusses the methods of the investigators in film noir. They are different than those employed by the classic detective of mystery and crime fiction, which involve observation, the collection of clues, logical inference, and are generally modeled on the methods of the scientist. I illuminate the methods of the noir investigator by comparing them to those applied by Ludwig Wittgenstein to philosophical problems. Both the noir investigator and Wittgenstein deal with problems that are intractable (...) to the methods of logic and science. Wittgenstein thought that philosophical problems could not be solved using these methods; I show that the problems that typically confront the noir investigator are similarly resistant to them. Wittgenstein and the noir investigator model alternative methods for solving epistemic problems and in doing so remind us of the limits of science and logic. (shrink)

Veronica Mars is a kick-ass private investigator, smart and street-wise. But what can her character tell us about larger life issues, such as knowledge and skepticism, trust and friendship, revenge, race, gender, and feminism? What makes her tick? And why is Logan such a sarcastic bad boy, anyway? Veronica Mars and Philosophy features a thought-provoking collection of essays centered on philosophical issues brought forth in Veronica Mars, the critically acclaimed neo-noir detective series set in the fictional town of (...) Neptune, California. Fans and newcomers alike will gain unique insights into the philosophical make-up of a hit show that tackled both crime and some of the larger mysteries of life. Introduces significant philosophical concepts that arise in the cult TV show, Veronica Mars Tackles topics relevant to contemporary youth culture, including trust and friendship, revenge, knowledge and skepticism, race, class, gender, and feminism Offers insights into darker themes explored in the series, which is noted for the complexity and intricate plotting of its storylines Delves deeply into the psychology of Veronica Mars during her transition from high school to college Written for fans of the television show, philosophy students or readers interested in popular culture Timed for release with the highly anticipated Veronica Mars feature film. (shrink)

This chapter argues that in addition to being a hilarious stoner comedy, one of the most beloved cult films of all time, and a trenchant genre critique of film noir detective cinema, as well as American Westerns, Ethan and Joel Coen’s film, The Big Lebowski (1998, TBL), also presents reflections on several important philosophical themes. First, as a matter of feminist and gender philosophy, TBL examines and criticizes prominent ideals of masculinity, especially as they appear in US cinema, (...) exploring the question of what a better kind of man might be. Second, that project is woven together with an investigation of virtue as exemplified by the film’s protagonist, Jeffrey “The Dude” Lebowski. TBL portrays in The Dude a man whose virtues include Epicurean-like excellences related to contented poverty, equality, community, and friendship. Friendship is also a virtue among Aristotelians, and The Dude’s culture of friendship, from an Aristotelian perspective, bears significant political import. By positioning The Dude at a mean between the extremes of his friend Walter Sobchak’s excess and the nihilists’ deficiencies, TBL explores the way rules and rule-following properly fit into virtuous moral life. In The Dude, the film shows how moral virtue not only requires intellectual excellences but also the right kind of character. And third, perhaps most centrally, TBL engages the problem of modern European nihilism and the effect it has had upon US culture. By means of the “abiding” virtues it valorizes, existential repetition, comedy itself, and the way its characters inhabit time, TBL confronts the death, despair, and disillusionment nihilism yields. (shrink)

Since Blood Simple, the first film they wrote and directed together, the Coen Brothers have been working their way up in the film world and, in spite of their outside-the-mainstream taste for the noir and the surreal, have earned a number of prestigious prizes. After Fargo, one of their most critically acclaimed films, expectations were high, and when the Brothers released their next bizarre venture, most critics rushed to measure it against Fargo’s success. Consequently, The Big Lebowski, the Coens’ (...) 1998 neo-noir detective comedy, was considered an incoherent, “unsatisfactory” medley of genres and styles and a box office bomb, and nothing hinted that this unorthodox story of mistaken identity, featuring a pot-smoking, unemployed character named the Dude as its “hee-ro,” would gain a following. Yet, since its 1998 DVD release, The Big Lebowski has been hailed as the first cult film of the Internet, continuously inspiring versatile cultural phenomena as nonconformist in their nature as the movie itself. This essay examines particular factors which initially might have been responsible for alienating the audience only to help The BigLebowski become a peculiar cultural event in later years. It looks at TheBig Lebowski’s characters, the historical time and place of the film’s action as well as at various external historical events, phenomena, places and people such as, for example, the Port Huron Statement, the Reagan-Bush era, Los Angeles and its immigration issues, racial minorities, civil rights activists, the Western genre and, last but not least, Arnold Schwarzenegger. Reflecting the film’s oddities, this bag of cultural idiosyncrasies appears to provide some plausible explanations for The Big Lebowski’s unexpected, against-all-odds rise from the marginal position of a critical and commercial failure to the status of a cult classic and cultural landmark. (shrink)

Veronica Mars is a kick-ass private investigator, smart and street-wise. But what can her character tell us about larger life issues, such as knowledge and skepticism, trust and friendship, revenge, race, gender, and feminism? What makes her tick? And why is Logan such a sarcastic bad boy, anyway? Veronica Mars and Philosophy features a thought-provoking collection of essays centered on philosophical issues brought forth in Veronica Mars, the critically acclaimed neo-noir detective series set in the fictional town of (...) Neptune, California. Fans and newcomers alike will gain unique insights into the philosophical make-up of a hit show that tackled both crime and some of the larger mysteries of life. Introduces significant philosophical concepts that arise in the cult TV show, Veronica Mars Tackles topics relevant to contemporary youth culture, including trust and friendship, revenge, knowledge and skepticism, race, class, gender, and feminism Offers insights into darker themes explored in the series, which is noted for the complexity and intricate plotting of its storylines Delves deeply into the psychology of Veronica Mars during her transition from high school to college Written for fans of the television show, philosophy students or readers interested in popular culture Timed for release with the highly anticipated Veronica Mars feature film. (shrink)

Veronica Mars is a kick-ass private investigator, smart and street-wise. But what can her character tell us about larger life issues, such as knowledge and skepticism, trust and friendship, revenge, race, gender, and feminism? What makes her tick? And why is Logan such a sarcastic bad boy, anyway? _Veronica Mars and Philosophy_ features a thought-provoking collection of essays centered on philosophical issues brought forth in _Veronica Mars_, the critically acclaimed neo-noir detective series set in the fictional town of (...) Neptune, California. Fans and newcomers alike will gain unique insights into the philosophical make-up of a hit show that tackled both crime and some of the larger mysteries of life. Introduces significant philosophical concepts that arise in the cult TV show, _Veronica Mars_ Tackles topics relevant to contemporary youth culture, including trust and friendship, revenge, knowledge and skepticism, race, class, gender, and feminism Offers insights into darker themes explored in the series, which is noted for the complexity and intricate plotting of its storylines Delves deeply into the psychology of Veronica Mars during her transition from high school to college Written for fans of the television show, philosophy students or readers interested in popular culture Timed for release with the highly anticipated _Veronica Mars_ feature film. (shrink)

Cohle is at ease with his lack, and his ease enables him to remain fixated on the desire of the other. This is precisely what makes Cohle the better detective, indeed the True Detective. It is because Cohle himself is unable to experience guilt— the true sign of any noir hero. Gilles Deleuze argues that the core structure of the detective's search for truth follows an Oedipal trajectory. Sophocles' classic myth of Oedipus presents the basic structure (...) of the detective genre. Cohle develops a philosophy, specifically what is referred to as anti‐natalism, or the belief that human beings should not procreate. The Lacanian philosopher Alenka Zupancic points out that Oedipus was the first noir hero precisely because in Oedipus the hero is also the villain— the two become indistinguishable. Cohle can read the signs all around him, however he has surpassed Oedipus. The ending of season one represents the ending of Cohle's trajectory of a psychotic subject. (shrink)

Les concepts de la physique ont été élaborés jusqu'ici par ajustement de la théorie à l'expérience. Désormais l'exploration de la matière nécessite une approche plus fine, où les concepts soient chargés de sens. Ici, les auteurs proposent de fonder la physique sur la "symbiose" entre une logique nouvelle et des principes métaphysiques qui structurent le concept de réalité. Les entités connues de la physique se déduisent directement de ces fondements, d'autres se révèlent et leur détection constitue un nouveau défi pour (...) les expérimentateurs. La microphysique y est dominée par la présence constitutive de non-ordre. Les phénomènes quantiques et l'espace-temps s'en trouvent réinterprétés. Diverses questions très actuelles sont examinées: matière noire, fusion froide, atomes hypercondensés, monopôles magnétiques... Cet ouvrage constitue un bouleversement épistémologique majeur car il fournit un modèle de pensée efficace dont les structures s'appliquent à tous les domaines de la science. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Case of the Disappearing EnigmaDeborah Knight and George McKnightAsked to give examples of detection narratives, one might first mention paradigms of the detective genre from either the classical or hard-boiled traditions. But the study of detection need not be restricted to the generic as familiarly construed. 1 Our interest in detection is transgeneric, which is why we speak in terms of “detection narratives” rather than the (...) class='Hi'>detective genre. We are as interested in detection narratives that exploit the generic tendencies of suspense or comedy as we are in nongeneric narratives that feature an investigation of some mystery or crime. While what we have to say about detection, interpretation, and narrative explanation is generally applicable to both literary and non-literary detection narratives, our five main examples are all unapologetically taken from cinema. We have selected these five just because they are unlikely to strike anyone as an intuitively obvious group of films. They are The Thin Man (W. S. Van Dyke, 1934), a mystery/comedy; The Maltese Falcon (John Huston, 1941), standardly cited as the earliest film noir and a paradigm of the cinematic hard-boiled detective genre; All The President’s Men (Alan J. Pakula, 1976), a political thriller based on Bernstein and Woodward’s nonfictional investigation of the Watergate break-in; Nicholas Roeg’s 1980 Bad Timing, a nongeneric film about sensual obsession; and Woody Allen’s 1993 comedy of manners, Manhattan Murder Mystery.Whether focusing on the investigation of a crime, the unraveling of a puzzle, or the solution of a mystery, detection narratives exhibit what Frank Kermode calls “a specialized ‘hermeneutic’ organization.” 2 As such, they call for a particular sort of investigation: namely, a hermeneutical one. Often we think about hermeneutical investigations as [End Page 123] interpretations and assume that the proper object of such interpretations is a text. Thinking primarily about literary texts, David Novitz argues that the function of such explanations is to “solve certain puzzles, answer certain questions, dispel confusions, or eliminate doubts about... the theme of a work or its plot, [or] about the actions, motives, or machinations of fictional characters....” 3Of course, interpretation is not restricted to literary texts, nor to answering specific questions about such matters as theme or plot or character motivation, nor does Novitz suggest it is. But when the object of interpretation is a text—literary, cinematic, legal, or other—it is arguable that interpretation is not restricted to those localized aspects of the text which we take to be puzzling. Novitz’s position is that interpretation only occurs when one confronts a specific puzzle or problem. What we understand directly is not, on this account, interpreted; interpretation is required only where we do not understand. The consideration of detection narratives suggests that understanding and interpretation are more closely related than Novitz seems to allow.In our attempts to make sense of the course of action of any detection narrative, there is always the question whether we have understood a given situation, event, action or statement correctly. It is always a question whether we have correctly distinguished between clues and red herrings. Detection narratives operate on the basis of a continual questioning—both for the detective and for the reader or viewer—as to whether we do, in fact, understand what is happening.This questioning attitude is keyed to the uncertainty as to whether we have correctly recognized what information is salient, which characters’ testimony is trustworthy. At various moments in any detection narrative, the detective (or reader/viewer) will have reason to question the reliability of their own assessment of what is going on. There is the risk of being mistaken, but also the risk of being deceived. So the appropriate attitude to detection narratives is an interpretive one, an attitude that asks questions about what is presented.Of course, particular questions cannot even be sensibly asked in the absence of a larger interpretive framework which gives the particular question its point. Not only the detective, but the reader or viewer, is well advised to contextualize any particular event or action as a (potential) part of what we call, adapting a notion of David Carr’s, an action of large... (shrink)

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections (...) in the preservation process, and hope you enjoy this valuable book. (shrink)

Excerpt from Grundlegung Einer Zeitgemassen Philosophie Aller Erfahrung also a priori zukommt, welches eine sinn liche Wahrnehmung, die Quelle unserer Erkenntnisse, erst moglich macht? About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the (...) original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The starting point of this paper is a statement that Benjamin makes in a group of notes he writes for his project of a detective novel. Benjamin writes here that «criminal and detective could be so friends [so befreundet sein] as Sherlock Holmes and Watson». We’ll try to understand the meaning of this statement through the investigation of the detective topic in two moments of its fore and afterlife: its fore life in Benjamin’s meditation on the baroque (...) and its after life in Sherlock Holmes’s most recent apparition, in the BBC series Sherlock. One of the most interesting elements of this series is in fact the relationship – which is barely sketched in Conan Doyle’s stories – between Sherlock Holmes and his antagonist, the maths professor Jim Moriarty. We’ll see that in Benjamin’s notes for a detective novel the criminal is not a maths professor but a psychoanalyst. What is the difference, anyway, between professor Moriarty’s knowledge and Sherlock’s knowledge? In fact, we will find out that criminal and detective are closer to one other than what we may be induced to think – close but not coincident. (shrink)

This essay articulates one way to conduct a cultural intervention from the Asia/Pacific region that recognizes the cultural governance of “Other” traffics. I investigate the discursive framework of Charlie Chan and Hawai'i detective fiction to inform the ways in which nation-states police cultural difference and enact geo-cultural homogeneity. I contend that Charlie Chan acts as a narrative of containment by inscribing and transcribing those spaces, times and bodies that would otherwise disrupt the national field of America. In particular, the (...) imaginative geography of Charlie Chan not only affirms the tropical paradise coding of Hawai'i, it attempts to provide disciplinary insights from the perspective of a “native informant”; the figure of Charlie Chan translates and forecloses the discordant rhythms of minority and “native” communities in ways that enable the production of popular television shows such as Hawaii Five-O, Magnum P.I. and Baywatch Hawaii. However,despite this national deployment of Charlie Chan, I want to suggest that Charlie Chan can also be read as a tactic of geopolitical resistance. His figure can assume a parodic and critical stance in the form of a native mis-informant, and by so doing, his character insecures dark bodies, times, spaces of the Orient and the Oceanic. (shrink)

Reading noir and Lacan together can establish a structural corollary between the function of the signifier 'noir' in film criticism and the retroactive function of the point de capiton in Lacan's theory of language. Furthermore, at a narrative level, the function of the point de capiton can also be found in the retroactive constructions of film noir flashbacks. It is therefore possible to say that a retroactive 'noir temporality' is also the temporality of the Symbolic order. (...) This article explores the way in which the signifier 'noir' enables the analysis of a certain type of 1940s Hollywood film, and how a noir film such as Double Indemnity (Billy Wilder, 1944) is concerned with the retroactive production of knowledge through narrative structure. (shrink)

In Michel Tournier’s 1967 novel Vendredi ou les Limbes du Pacifique—published in English under the abbreviated title Friday—the protagonist, stranded on an isla.

While the traditional boulevard novel of Eugène Sue wants to entertain and sell, Umberto Eco's boulevard novel wants to entertain and educate the contemporary reader in Italian history and in a form of modern semiotic theory. However, Eco's educational mission does not transform the low genre of the boulevard novel but remains bound by its limitations of “rhetoric and ideology.” Eco's reader is left with a representation of history as pastiche and a populist misconception about the potential of semiotics to (...) relativise the perception of reality. Both history and semiotics are ultimately used by Eco not as heuristic devices but as instruments of seduction directed at a modern middle-class reading public with intellectual aspirations. (shrink)

Questo libro risulta da un’operazione filosofica molto originale: l’autrice si chiede per quali possibili motivi a Wittgenstein piacesse un giallo di Norbert Davis, Rendez-Vous with Fear, uscito negli Stati Uniti nel 1943 con il titolo The Mouse in the Mountain. Dalle lettere scambiate con l’amico Norman Malcolm sappiamo della sua passione per le hard boiled stories e per questo giallo in particolare. Con grande libertà teorica, che include introspezione e analisi epistemologica, antropologic...

The presence of dual and ambivalent characters (good/ bad) has always constituted the aesthetic and educational content in children’s fairy tales. Since the Nineteenth century, fairy tales and children’s books have had as an essential reference increasingly complex images and illustrations with vivid colors. This, together with the narration, has allowed the flourishing of a genre of fairy tale noir, whose explicitly pedagogical content is grafted into the plots not always “to happy ending” of fairy tales. The book by (...) Heinrich Hoffmann, _Struwwelpeter_, and that by Ernst Theodor Hoffmann, _Der Sandmann_, which are at the heart of this essay, constituted a first, important example of this new kind of narrative. They have revealed, from a pedagogical-psychoanalytic perspective, the value of what Freud in a 1919 paper, _Das Unheimliche_, analyzed as a necessary manifestation of presence/absence (conscious and unconscious) in the phases of human growth. (shrink)

Five aspects of visual change detection are reviewed. The first concerns the concept of change itself, in particular the ways it differs from the related notions of motion and difference. The second involves the various methodological approaches that have been developed to study change detection; it is shown that under a variety of conditions observers are often unable to see large changes directly in their field of view. Next, it is argued that this “change blindness” indicates that focused attention is (...) needed to detect change, and that this can help map out the nature of visual attention. The fourth aspect concerns how these results affect our understanding of visual perception—for example, the implication that a sparse, dynamic representation underlies much of our visual experience. Finally, a brief discussion is presented concerning the limits to our current understanding of change detection. (shrink)