Philosophy of Film

Edited by Clotilde Torregrossa (University of St. Andrews)
About this topic
Summary

"Philosophy of Film" is often used to describe a few different kinds of work. Two are most important. We should distinguish between philosophy in or through film, and the philosophy of or about film. When one does philosophy through film, one seeks to either illuminate some philosophical idea or to make progress on some philosophical issue through a discussion of a movie. One might even attribute the philosophical work to the film. We might call this philosophy in film. In contrast, the philosophy of film is the philosophy about film.  It asks about the nature of film, our experience of it, how it works its magic on us, and what limitations it might have. The analytic philosophy of film is principally issue driven. One of the issues concerns the philosophical limits of film, whether philosophy in film is possible. This mid-level category is home to both kinds of work, philosophy through film and the philosophy of film.

Key works

Carroll's Philosophy of Motion Pictures and Gaut's A Philosophy of Cinematic Art are two leading monographs offering opposing views on a wide range of issue in the analytic philosophy of film.

Introductions

Livingston and Plantinga's Routledge Companion to Philosophy and Film is by far the best source for survey articles on topics and figures in the area. Thomson-Jones's Aesthetics and Film provides a clear, brief introduction to several important topics in the area.

Related categories

4745 found
Order:
1 — 50 / 4745
Material to categorize
  1. Videos, Police Violence, and Scrutiny of the Black Body.Sherri Irvin - 2022 - Social Research: An International Quarterly 89 (4):997-1023.
    The ability of videos to serve as evidence of racial injustice is complex and contested. This essay argues that scrutiny of the Black body has come to play a key role in how videos of police violence are mined for evidence, following a long history of racialized surveillance and attributions of threat and superhuman powers to Black bodies. Using videos to combat injustice requires incorporating humanizing narratives and cultivating resistant modes of looking.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  2. Love Objects: Eros and the Materialistic Aesthetics of Ernst Lubitsch.Noa Merkin - 2023 - Film-Philosophy 27 (1):64-78.
    This article explores the role of filmic objects within the romantic relationships featured in Ernst Lubitsch’s silent The Marriage Circle (1924) and the comedy Trouble in Paradise (1932). I argue that these objects reflect a unique engagement with the materiality of film décor, which makes use of the strong presence of objects to portray intimacy as the site of inconclusive meaning. By examining both films together, I demonstrate how the world of inanimate objects brings erotic undertones to the surface while (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  3. White Material: Ivory tiles, white womanhood, and white supremacy in Jean-Marc Vallée’s Sharp Objects.Emily Sanders - 2023 - Film-Philosophy 27 (1):98-114.
    Jean-Marc Vallée’s HBO miniseries, Sharp Objects (2018), follows Camille Preaker (Amy Adams) as she returns to her childhood home in Wind Gap, Missouri, to investigate the murders of two young girls. This article explores a specific type of object related to the systems of violence that reveal themselves over the course of the miniseries: ivory tiles. Here, the ivory tiles affixed to the floor of Camille’s mother’s, Adora Crellin’s (Patricia Clarkson), master bedroom both reveal and influence sinister behaviours of the (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  4. Affective Assemblages of Material Culture: Qi Pao, Mahjong and Performance in Ang Lee’s Lust, Caution.Jiaying Sim - 2023 - Film-Philosophy 27 (1):29-49.
    Using Ang Lee’s Lust, Caution (2007), this article illustrates how an affective mode of address is encouraged when one attends to the ways in which on-screen cinematic audio-visual spectacles are produced through the interaction of different bodies on-screen. Affective cinematic encounters open up other ways of understanding the female body as productive assemblages of everyday affective interactions and relationalities with other bodies within material culture. Particularly, I demonstrate an affective mode of address that attends to the interaction of cinematic objects (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  5. Sarah Cooper (2019). Film and the imagined image. [REVIEW]Giulia Rho - 2023 - Film-Philosophy 27 (1):146-149.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  6. Tiago de Luca (2021) Planetary Cinema: Film, media and the earth. [REVIEW]Karim Townsend - 2023 - Film-Philosophy 27 (1):137-141.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  7. Poetic Objects: Bachelardian Reverie, Reverberation and Repose in Claire Denis' 35 Shots of Rum.Saige Walton - 2023 - Film-Philosophy 27 (1):7-28.
    This article draws on the interrelated concepts of reverie and repose in Gaston Bachelard's philosophy to approach Claire Denis' poetic foregrounding of objects in 35 Shots of Rum (35 Rhums, 2008). Connecting Bachelard's work on time to his later studies of the imagination, I demonstrate how the poetic time of reverie and repose are essential to Bachelard's thinking. Focusing on three especially charged objects (trains, rice cookers and lanterns), I argue for reverie and repose as being embedded into the rhythmic (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  8. Film as Museum: One-of-a-Kind Objects in Berkun Oya's Bir Başkadır.Olivia Landry - 2023 - Film-Philosophy 27 (1):115-136.
    This article explores the 2020 Turkish Netflix series Bir Başkadır (Ethos) written and directed by Berkun Oya about contemporary Turkey through its objects. With objects surge memories, which are both personal and collective. From the charged objects that convey private attachments, traumas, and histories to ordinary household trinkets and finally archival audiovisual material, this series assumes the status of museum in its drive to carefully exhibit the material world on screen. As the Turkish title of the series indicates, these objects (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  9. Introduction to Special Issue: Film Objects.Catherine Wheatley & Elizabeth Ezra - 2023 - Film-Philosophy 27 (1):1-6.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  10. Joshua Sikora (Ed.), A Critical Companion to Terrence Malick. [REVIEW]Matthew Sellers Johnson - 2023 - Film-Philosophy 27 (1):142-145.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  11. Rethinking Inside and Outside: The Door in Ernst Lubitsch's When I Was Dead and Charlie Chaplin's The Adventurer.Ido Lewit - 2023 - Film-Philosophy 27 (1):79-97.
    The article investigates the function and signification of doors in two silent films, Ernst Lubitsch's 1916 When I Was Dead and Charlie Chaplin's 1917 The Adventurer. Taking a theoretical perspective provided by the field of intellectual inquiry known as cultural techniques (Kulturtechniken), the door in these films is studied with respect to its procedural and functional operations. Specifically, the article focuses on the ways in which the employment of doors in each of the films relates to these films' configurations of (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  12. Hitchcock's Undertexts: Objects and Language.Brigitte Peucker - 2023 - Film-Philosophy 27 (1):50-63.
    This article explores the way in which the generative capacity of language inflects objects and props in several films by Alfred Hitchcock, focusing in particular on Rope (1948) and Strangers on a Train (1951). Camera angle and framing, the duration of the shot, the close-up or the long shot – all give shape to the filmed object. But why is language – or its absence – not mentioned among the set of operations that determines cinematic objects? In the form of (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  13. Am I present in imaginary worlds? Intentions, actions, and flow in mediated experiences and fiction.Federico Pianzola, Giuseppe Riva, Karin Kukkonen & Fabrizia Mantovani - 2022 - Behavioral and Brain Sciences 45:e293.
    We support the idea of applying cultural evolution theory to the study of storytelling, and fiction in particular. However, we suggest that a more plausible link between real and imaginary worlds is the feeling of “presence” we can experience in both of them: we feel present when we are able to correctly and intuitively enact our embodied predictions.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  14. Filming Nature.Nicholas Whittaker - 2023 - Film and Philosophy 27:47-67.
    Much theorizing on the aesthetics of nature focuses on its uniqueness qua nature. An overly-inflated sense of the ethical and aesthetic normative force of this focus has resulted in a general paucity of philosophical investigation into artified nature. The investigations that do exist typically refuse to or are unable to marshall the theoretical resources of nature aesthetics, which are taken to only apply to live nature. Here, I resist such wing-clipping by taking artified nature–specifically, filmed nature–to deserve its own discrete (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  15. Inverted Moderate Moralism.Meg Thomas - 2023 - Film and Philosophy 27:105-125.
    This article contributes to the philosophical debate over whether and how different forms of value interact—more specifically, moral and aesthetic value. Whereas much of the debate has been preoccupied with how moral value might affect aesthetic value, this article explores the interaction from the opposite direction. To consider the plausibility of an interaction in this direction, I first expand upon Robert Stecker’s brief discussion of the reverse affective response argument. Following this, I propose an alternative description of an aesthetic-moral interaction (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  16. Double Reversals in Jim Jarmusch’s Night on Earth.Michael Forest - 2023 - Film and Philosophy 27:127-142.
    This essay explores the underlying connections, through reversals and doubling, in Jim Jarmusch’s Night on Earth. The film utilizes more than just similar cinematic techniques across its five episodes, it embeds conceptual connections that result in a strong location-expression conveying to the viewer the unique ‘flavor’ of each of the five cities. The essay explores the concepts of reversal, doubling, location-expression, and spectatorship. It elucidates the filmic expressions of place by gesturing toward expression theory and rasa theory. Ultimately, the film’s (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  17. Toward a Non-Anthropocentric Italian Cinema.Laura Di Bianco - 2023 - Film and Philosophy 27:69-87.
    The 2015 film Lost and Beautiful, directed by Pietro Marcello, en­deavors in aesthetically compelling ways to decenter the human in the frame and engage viewers in what Gilles Deleuze and Felix Guattari term becoming animals. Part documentary film, part fairytale, this film tells the story in the nonhuman first person, of the life and journey of a water buffalo calf in the south of Italy and his relationship with the shepherd who saved him from pre­mature death, and later, with Pulcinella, (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  18. Natality and the Post-human Condition.Dennis M. Weiss - 2023 - Film and Philosophy 27:29-46.
    Critical posthumanists have observed that technoscientific developments are in the process of rewriting human ontology, fundamentally changing what it means to be human. While they argue that the posthuman breaks with the Cartesian liberal subject and embraces a more decentered ontology, their analyses remain firmly situated in a Cartesian world that marginalizes if not completely ignores questions about natality. This essay examines two filmic texts, Blade Runner 2049 and the AMC television show Humans, that are situated firmly in a posthuman (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  19. Editor's Introduction.Laura T. Di Summa - 2023 - Film and Philosophy 27:3-4.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  20. Review of Concept TV: An Aesthetics of Television Series, by Luca Bandirali and Enrico Terrone. [REVIEW]Iris Vidmar Jovanovic - 2023 - Film and Philosophy 27:143-147.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  21. Disgust, Race, and Carroll’s Theory of Solidarity.Dan Flory - 2023 - Film and Philosophy 27:1-27.
    This article examines Noël Carroll’s theory of solidarity from a critical race theoretical perspective. Using recent work in philosophy of film, philosophy of emotion, and critical philosophy of race, it argues his theory pays insufficient attention to both the role disgust plays in generating solidarity and the role race plays in generating disgust. Numerous and significant examples are cited to support these claims. The article also suggests implicit bias and embodied affect figure into character allegiance more seriously than Carroll’s theory (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  22. Orúnmìliàn Film-Philosophy.Saheed Bello - 2023 - Film and Philosophy 27:89-103.
    This article discusses a relationship between the philosophical praxis of Ọ̀rúnmìlà and aesthetics of Èjìgbèdè Ẹ̀kú (i.e., the costume of the living and the costume of the dead) in Saworoidẹ (dir. Túndé Kèlání’s, 1999). I construct the Yorùbá/Ọ̀rúnmìlà philosophical method of Èjìgbèdè Ẹ̀kú in the contemporary Nigerian narrative film as case study of how contemporary African filmmakers, like their oral artiste counterparts, continue to articulate their inherited traditions via cinematic storytelling. In doing that I draw on what I call the (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  23. Cinema e intermedialità: modelli di traduzione.Federico Zecca - 2013 - Udine: Forum.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  24. Diálogo/cinema.Marcia Tiburi - 2013 - São Paulo: Editora Senac São Paulo.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  25. Governare lo sguardo: potere, arte, cinema tra primo Novecento e ultimo capitalismo.Alessandro Simoncini - 2013 - Roma: Aracne editrice S.r.l..
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  26. Cine y mitología: de las religiones a los argumentos universales.Héctor J. Pérez - 2013 - Bern: Peter Lang.
    Introducción a la comprensión del mito -- Los orígenes de la tradición mitológica occidental -- Poética de las tradiciones narrativas -- La recepción del mito en la cultura audiovisual contemporánea -- Los argumentos universales -- Los argumentos universales (II): el viaje a un planeta desconocido.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  27. Ekranna realnost: komunikativno strukturirane v ekrannata realnost.Asparukh Nikolov - 2013 - Sofii︠a︡: Askoni-izdat.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  28. Vertrauen in die Welt: eine Philosophie des Films.Josef Früchtl - 2013 - München: Wilhelm Fink.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  29. Visions: philosophie et cinéma.Luc Deneulin - 2013 - Bruxelles: ASP.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  30. Lo stile moderno: alla radice del contemporaneo: cinema, video, rete.Giorgio De Vincenti - 2013 - Roma: Bulzoni editore.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  31. Filosofia del film.Enrico Terrone - 2014 - Roma: Carocci.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  32. Cinema, mito e filosofia.Giuseppe Savagnone - 2014 - Borgomanero, No: Giuliano Ladolfi editore.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  33. Filmosofia no cinema nacional contemporâneo: ensaio.Deise Quintiliano - 2014 - Rio de Janeiro, RJ: Folio Digital.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  34. El cine-ensayo: la mirada que piensa.Gustavo Provitina - 2014 - Buenos Aires, Argentina: La Marca Editora.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  35. El cine-ensayo: la mirada que piensa.Gustavo Provitina - 2014 - Buenos Aires, Argentina: La Marca Editora.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  36. U zaklon!: ideološka čitanka suvremenog filma.Dragan Jurak - 2014 - Zagreb: Hrvatski filmski savez.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  37. Szerzők, filmek, kritikai-klinikai olvasatok.Zsolt Győri - 2014 - [Debrecen]: Debreceni Egyetemi Kiadó.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  38. Cinema beyond territory: inflight entertainment and atmospheres of globalisation.Stephen Groening - 2014 - Basingstoke, Hampshire: Palgrave-Macmillan.
    Global airspace, global cinemaspace -- Aerial perceptions: the visuality of the airplane -- Airborne cinema: the emergence of inflight entertainment -- Executive flight: attention, gender and the seatback screen -- Networked transport: neoliberalism and digital entertainments -- Disastrous speed: thrill rides, screens and fear of flying -- Live in air: aerial circuits of television -- Conclusion: cinema as infrastructure.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  39. Gândirea-cinema.Cezar Gheorghe - 2014 - București: Cartea Românească.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  40. Between the eye and the world: the emergence of the point-of-view shot.Elena Dagrada - 2014 - Bruxelles, Belgique: P.I.E. Peter Lang.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  41. La mela di Cézanne e l'accendino di Hitchcock: il senso delle cose nei film.Antonio Costa - 2014 - Torino: Giulio Einaudi editore s.p.a..
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  42. Cinema of the dark side: atrocity and the ethics of film spectatorship.Shohini Chaudhuri - 2014 - Edinburgh: Edinburgh University Press.
    Documenting the dark side : fictional and documentary treatments of torture and the 'war on terror' -- History lessons : what audiences (could) learn about genocide from historical drama -- The art of disappearance : remembering political violence in Argentina and Chile -- Uninvited visitors : immigration, detention and deportation in science fiction -- Architectures of enmity : the Israeli-Palestinian conflict through a cinematic lens.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  43. Cinema of the dark side: atrocity and the ethics of film spectatorship.Shohini Chaudhuri - 2014 - Edinburgh: Edinburgh University Press.
    Documenting the dark side : fictional and documentary treatments of torture and the 'war on terror' -- History lessons : what audiences (could) learn about genocide from historical drama -- The art of disappearance : remembering political violence in Argentina and Chile -- Uninvited visitors : immigration, detention and deportation in science fiction -- Architectures of enmity : the Israeli-Palestinian conflict through a cinematic lens.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  44. Ontologia del corpo nel cinema comico.Alessandro Cappabianca - 2014 - Roma: Edizioni Fondazione Ente dello spettacolo.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  45. Subjective realist cinema: from expressionism to inception.Matthew Campora - 2014 - Oxford: Berghahn.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  46. Deleuze and the concepts of cinema.Daniela Angelucci - 2014 - [Edinburgh]: Edinburgh University Press.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  47. Ying xiang xia de xian dai: dian ying yu shi jue wen hua = Visual modern and its other.Yingxiong Zhou & Pin-Chia Feng (eds.) - 2014 - Hangzhou: Zhejiang da xue chu ban she.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  48. The Routledge encyclopedia of film theory.Edward Branigan & Warren Buckland (eds.) - 2014 - New York: Routledge, Taylor & Francis Group.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  49. War and its fictional recovery on screen: narrative management of death in The big red one and The thin red line.Elisabeth Bronfen - 2014 - In David LaRocca (ed.), The philosophy of war films. University Press of Kentucky.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  50. Profoundly unreconciled to nature": ecstatic truth and the humanistic sublime in Werner Herzog's war films.David LaRocca - 2014 - In The philosophy of war films. University Press of Kentucky.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
1 — 50 / 4745