Thinking on Screen: Film as Philosophy is an accessible and thought-provoking examination of the way films raise and explore complex philosophical ideas. Written in a clear and engaging style, Thomas Wartenberg examines films’ ability to discuss, and even criticize ideas that have intrigued and puzzled philosophers over the centuries such as the nature of personhood, the basis of morality, and epistemological skepticism. Beginning with a demonstration of how specific forms of philosophical discourse are presented cinematically, Wartenberg moves on to offer (...) a systematic account of the ways in which specific films undertake the task of philosophy. Focusing on the films The Man Who Shot Liberty Valance, Modern Times, The Matrix, Eternal Sunshine of the Spotless Mind, The Third Man, The Flicker , and Empire , Wartenberg shows how these films express meaningful and pertinent philosophical ideas. This book is essential reading for students of philosophy with an interest in film, aesthetics, and film theory. It will also be of interest to film enthusiasts intrigued by the philosophical implications of film. (shrink)

Big Ideas for Little Kids includes everything a teacher, a parent, or a college student needs to teach philosophy to elementary school children from picture books. Written in a clear and accessible style, the book explains why it is important to allow young children access to philosophy during primary-school education. Wartenberg also gives advice on how to construct a "learner-centered" classroom, in which children discuss philosophical issues with one another as they respond to open-ended questions by saying whether they agree (...) or disagree with what others have said. (shrink)

_Taking Picture Books Seriously: What can we learn about philosophy through children's books?_ This warm and charming volume casts a spell on adult readers as it unveils the surprisingly profound philosophical wisdom contained in children's picture books, from Dr Seuss's _Sneetches_ to William Steig's _Shrek!_. With a light touch and good humor, Wartenberg discusses the philosophical ideas in these classic stories, and provides parents with a practical starting point for discussing philosophical issues with their children. Accessible and multi-layered, it answers (...) questions like, Is it okay for adults to deceive kids? What's the difference between saying the Mona Lisa is a great painting and vanilla is your favorite flavor? Each chapter includes illustrations commissioned especially for this book. (shrink)

The question of how to define the concept of social power has been a focus of controversy among social theorists. In this paper, I put forward a definition of social power that avoids many of the pitfalls of previous attempts at such a definition. Roughly, I define the power which one agent has over another as the ability that the dominant agent has to control the situation within which the subservient agent acts. Using this basic definition of power, I go (...) on to define many of the central forms in which power actually exists, forms that are conceptualized by such concepts as force, coercion, and influence. I show that these different forms of power can all be understood as specifications of the generic definition of power that I offered and go on to develop an account of how they function in relation to one another in actual relationship of social power. (shrink)

In her essay “The Idea of Perfection,” Iris Murdoch argues that sustained attention directed towards another can result in a person’s moral improvement by getting them to have a more accurate view of the other. In this essay, I argue that the award-winning film My Octopus Teacher illustrates Murdoch’s view and corrects some of its shortcomings. It illustrates Murdoch’s claim by showing how one of the filmmaker’s sustained attention directed at an octopus results not only in an alternation in the (...) filmmaker’s view of the cephalopod but also transforms his life by making him more open to others. Because the central relationship in the film is one between a human being and a cephalopod, the film also corrects the anthropocentric bias in Murdoch’s account by showing that a human being can have a transformative relationship with a creature as alien appearing as an octopus. (shrink)

_Philosophy and Film_ moves from broad theoretical reflections on film as a medium to concrete examinations of individual films.

The contributors to this volume describe a range of programs that use picture books to teach philosophy to diverse audiences. From a pre-school program in which college students to do the teaching to a program focused on overcoming the legacy of violence and genocide in Mali in which the teachers write and illustrate their own picture books, the authors demonstrate the impact that learning philosophy has on diverse communities of young students and their teachers.

All of us ponder the big and enduring human questions—Who am I? Am I free? What should I do? What is good? Is there justice?

This chapter contains sections titled: Illustrated Books: A First Step The Image‐Text Complex in Comics The Image The Text How Comics Work An Objection Conclusion Notes References.

Philosophy is shaped by life and life is shaped by philosophy. This is reflected in The Philosophical I, a collection of 16 autobiographical essays by prominent philosophers.

This chapter contains sections titled: 1 2 3 4 Acknowledgment Notes.

Big Ideas for Little Kids includes everything a teacher, a parent, or a college student needs to teach philosophy to elementary school children from picture books. Written in a clear and accessible style, the book explains why it is important to allow young children access to philosophy during primary-school education. Wartenberg also gives advice on how to construct a "learner-centered" classroom, in which children discuss philosophical issues with one another as they respond to open-ended questions by saying whether they agree (...) or disagree with what others have said. (shrink)

Although there has been an extensive debate about whether films can actually do philosophy, this chapter bypasses that debate in order to examine a number of different ways in which philosophy has been done by contemporary filmmakers. Using a variety of different films from different genres—including Anomalisa, an animated film; Amour, a narrative fiction film; and The Act of Killing, a documentary—the chapter explores some of the central ways that philosophy has been done on film—such as providing a counterexample to (...) a philosophical thesis, providing evidence to support a philosophical claim, and presenting an argument in support of a philosophical view. (shrink)

This chapter talks about Peter Catalanotto's delightfully illustrated picture book, Emily's Art. Traditionally, the philosophy of art was also called aesthetics, a term derived from the ancient Greek. There are many intriguing issues in the philosophy of art. For example, philosophers have proposed various different solutions to the question of what art is. Art is a subject that interests children because they often are engaged in producing it. So an interesting way to begin a discussion of issues in the philosophy (...) of art is to ask the children whether they prefer Kelly's paintings or Emily's and why. Once they explain, ask them whether they think that other people should agree with them, or if it's fine for other people to disagree. And, as usual, ask them to explain why they think what they think. (shrink)

Released in 1999, _Fight Club_ is David Fincher’s popular adaption of Chuck Palahniuk’s cult novel, and one of the most philosophically rich films of recent years. This is the first book to explore the varied philosophical aspects of the film. Beginning with an introduction by the editor that places the film and essays in context, each chapter explores a central theme of _Fight Club_ from a philosophical perspective. Topics discussed include: _Fight Club_, Plato’s cave and Descartes’ cogito moral disintegration identity, (...) gender and masculinity visuals and narration. Including annotated further reading at the end of each chapter, _Fight Club_ is essential reading for anyone interested in the film, as well as those studying philosophy and film studies. (shrink)

Brian Butler Transgression: Ordinary and Otherwise _Film-Philosophy_, vol. 5 no. 22, July 2001.

Leo Lionni's charming tale of a mouse, eponymously named Frederick, raises very important questions about the nature of work, a topic addressed in the field of social and political philosophy. A question — one that the mice themselves raise — is whether Frederick is doing work when he gathers the sun, colors, and words. Since the book has used the word “gather” as its way of conceptualizing work, it might seem that Frederick is working, for he, too, is also gathering (...) things, just not the things that all the other mice do. Alternatively, we can say that even though Frederick is doing intellectual, rather than physical work, both types of work are necessary for the continued existence of anything but the most simple society. Children have differing opinions about whether Frederick was working or was just being a slacker. (shrink)

This chapter talks about a picture of Crockett Johnson's book, Harold and the Purple Crayon, where Harold, a young toddler, standing with his body facing to our left but with his head turned slightly to the right. When we see Harold making a drawing with his purple crayon in an illustration by Crocker Johnson, we are witnessing the workings of Harold's imagination. Because of the peculiar metaphysics of his world, objects solve his problems when they morph from drawings into real (...) things. Harold and the Purple Crayon is a testament to the power of children's imaginations, their ability to give reality to things we adults can only dream about. The book gives us an introduction to the metaphysical distinction between real and merely imaginary things, and even criticizes one attempt to develop an account of that distinction. (shrink)

This chapter highlights different ways in which people communicate with one another. Although language is clearly a crucial means of communication, there are many other things that we can do to convey a message to someone. The chapter presents a story of in which Trixie had difficulty communicating to her father that they had left Knuffle Bunny at the Laundromat. Philosophers from earlier centuries would have viewed Trixie's difficulty as stemming from her attaching the wrong sounds (words?) to the ideas (...) she had in her mind. Twentieth‐century philosophers found this view unconvincing. The philosophy of mind investigates questions about the nature of the human mind. Although many different issues are addressed in this area of philosophy, the one that traditionally took pride of place was that of articulating the difference between the mind and the body, and deciding whether either was more basic than the other. (shrink)

This chapter talks about Tony Fucile's amusing book, Let's Do Nothing!. This book straddles the boundary between metaphysics and the philosophy of language, for the concept of nothing has been a very puzzling one to philosophers. But before entering those murky waters, let's see how Sal and Frankie fare in their attempt to do nothing. Sal and Frankie were trapped in their own fly bottle when they tried to do nothing. Sal's discovery — that you can't do nothing — was (...) a philosophical discovery, one that freed him and Frankie from the type of bewitchment that Wittgenstein and other ordinary language philosophers saw embodied in the history of philosophy. Discussion of “Nothing” with children is started by asking the children what are some examples of things that they really like to do. (shrink)

The theory of knowledge attempts to explain the nature and extent of human knowledge. A good place to begin the discussion on this theory is with the Princess Lenore's beliefs about the moon in Many Moons, a children's story on the different conceptions of knowledge. The story raises important questions about the nature of knowledge and those who claim to have it. We can understand the philosophical point that Many Moons makes about knowledge ask why the Jester is able to (...) solve a problem that none of the King's advisors can. An objectivist sees knowledge as something that is independent of any individual's point of view. The Jester has a different conception of knowledge. There are many other issues in the theory of knowledge besides skepticism and relativism. (shrink)

Harry Allard's very engaging and popular picture book Miss Nelson Is Missing! raises an important ethical issue. The issue is whether it is morally permissible to adopt an immoral means if doing so promotes a morally good end. The book shows us how successful deceptive behavior can be and also provides with an opportunity for reflecting on why such behavior is morally wrong. So there is a lesson to be learned about the importance of approaching children's picture books armed with (...) philosophy. If a parent just reads Miss Nelson Is Missing! to a child without raising the issue of whether what Miss Nelson did was moral, the child might come away thinking that her parent approved of Miss Nelson's actions. And, if the child took this to heart, she might think that it was all right to deceive others so long as one did so for their own benefit. (shrink)

People could have mistaken beliefs that they arrive at by faulty reasoning. B.Wiseman's delightful book, Morris the Moose, takes a more detailed look at such reasoning, itself the subject of philosophical logic. Morris explains to the cow why she must be a moose. He draws a false conclusion from true premises: that the cow has four legs, a tail, and horns. His problem could have been remedied by paying more attention to logic. Morris appeals to something like the following principle: (...) Things that look different from each other are really different from each other. The real lesson can take from this story of this stubborn moose is that it can sometimes be hard to admit your mistakes. Our own beliefs have a tenacity that makes it hard to accept contradictory evidence, and we are not always open to finding the truth if it challenges our cherished beliefs. (shrink)