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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. |
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Related
Subcategories
Ontology of Film (74)
Audience Engagement in Film (74 | 18)
Genres of Film (162 | 25)
Philosophy Through Film (267)
Philosophy of Film, Misc (116)
Contents
4914 found
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Material to categorize
- Methoden und Praxis der Filmanalyse: Untersuchungen zum Spielfilm und seinen Interpretationen.Wolfgang Becker - 1983 - Opladen: Leske Verlag + Budrich. Edited by Norbert Schöll."Mancher, der am Film interessiert ist, hat vielleicht schon vor dem Problem gestanden,,analytisch' mit Filmen umgehen zu mussen - sei es, daj3 er einfach auf eine genauere Erkliirung neugierig war, sei es, daj3 er die Filme anderen erkliiren muj3te. Er mag sich dann vielerorts umgesehen haben, in der Vielfalt von methodischen Hinweisen zur Filmanalyse, moglicherweise auch in sogenannten,exemplarischen' Einzelanalysen, urn schliej3lich - einigermaj3en verwirrt - zu der Einsieht gelangt zu sein, daj3 Filmanalyse ein schwieriges Unterfangen sei. In dieser (resignierten) Ein (...)
- Tempo e figurazione ritmica del film.Francesco Maria Nappi - 1985 - Cosenza, Italy: Pellegrini.Remove from this listExport citation
Bookmark - Untersuchungen zur Syntax des Films.Elmar Elling & Karl-Dietmar Möller-Nass (eds.) - 1979 - Münster: Münsteraner Arbeitskreis für Semiotik.1. [without special title]--2. Alternation/Parallel montage.
- Razrushenie razuma: kritika sovremennogo burzhuaznogo iskusstva.N. A. T︠S︡yrkun - 1986 - Moskva: "Iskusstvo".Remove from this listExport citation Bookmark
- Artes, cine, videotape: límites y confluencias.José Rojas Bez - 1987 - Holguín [Cuba]: Dirección Municipal de Cultura.Remove from this listExport citation Bookmark
- Vidimyĭ mir: ocherki ranneĭ kinofenomenologii.M. B. I︠A︡mpolʹskiĭ - 1993 - Moskva: Mezhdunar. kinoshkola.Remove from this listExport citation Bookmark
- Is It a Wonderful Life? Frank Capra and Objective List Theories of Worth.Joshua Shaw - 2023 - Film-Philosophy 27 (2):240-261.Aaron Smuts argues that the holiday film It's a Wonderful Life should be understood as both an illustration and a cinematic vindication of objective list theories of worth. This article argues that he is right about the first point but wrong about the second. It's a Wonderful Life is an excellent illustration of objective list theories. However, it also exposes a problem for them – their susceptibility to sceptical anxieties about whether we can know if our lives are worth living. (...)
- Death as Film-Philosophy’s Muse: Deleuzian Observations on Moving Images and the Nature of Time.Susana Viegas - 2023 - Film-Philosophy 27 (2):222-239.This article explores the affinities between film and philosophy by returning to a shared meditation on death and the nature of time. Death has been considered the muse of philosophy and can also be considered the muse of film-philosophy. But what does it mean to say that to film-philosophise is to learn to die, or a kind of training for dying? Film is an artistic object that reminds us of death’s inevitability; it is a meditation on the transient and finite (...)
- Documentary Fictions: Jacques Rancière and the Problem of Indexical Media.Konstantinos Koutras - 2023 - Film-Philosophy 27 (2):262-281.The indexicality of film and sound recordings remains an unresolved problem in contemporary documentary theory. The prevailing conceptualisation of the documentary assigns it the status of a sober discourse, a framing in which history is modelled as absent cause and the unqualified distinction between fiction and non-fiction is considered sacrosanct. The denotative literalism characteristic of indexical media, however, confounds this conceptualisation, which in turn encourages the devaluing of documentary aesthetics; the documentary is not a medium of art, it is said, (...)
- Film as Artificial Intelligence: Jean Epstein, Film-Thinking and the Speculative-Materialist Turn in Contemporary Philosophy.Christine Reeh Peters - 2023 - Film-Philosophy 27 (2):151-172.This article considers film as a form of artificial intelligence (AI). This non-anthropocentric hypothesis was first formulated in 1946 by filmmaker and theorist Jean Epstein and regards film as the thinking performance of a technical apparatus, the cinematograph, which is a manifestation of machine thinking based on the holistic entanglement of thought and world, film and philosophy. The article pursues an enquiry into ‘thinking’: one of the most prominent and oldest topics considered in philosophy, and also essential to art and (...)
- Mario Slugan (2020) Fiction and imagination in early cinema: A philosophical approach to film history.İ. Alev Değim Flannagan - 2023 - Film-Philosophy 27 (2):365-369.
- Beller, Jonathan (2018) The message is murder: The substrates of computational capital_ Beller, Jonathan (2021) _The world computer: Derivative conditions of racial capitalism. [REVIEW]David H. Fleming - 2023 - Film-Philosophy 27 (2):357-364.
- The Colour of Film-Philosophy.William Brown - 2023 - Film-Philosophy 27 (2):197-221.This article draws upon the work of Sylvia Wynter and W.E.B. Du Bois in order to propose that film-philosophy has historically not paid due attention to race. Drawing upon the former’s concept of “the sociogenic principle”, as well as the latter’s theories of “the colour line” and “double-consciousness”, the article argues that modernity has been constructed coterminously with whiteness, as well as a “photographic/cinematographic” logic whereby Blackness is cast into a “negative” realm. That is, while modernity might be white, more (...)
- Strata, Narrative, and Space in Ici et ailleurs.Kamil Lipiński - 2023 - Film-Philosophy 27 (2):173-196.This article examines the pedagogic vision of audiovisual archives in Ici et ailleurs ( Here and Elsewhere, 1974/1978) (shot by Sonimage and drawn from the abandoned project Jusqu’à la Victoire [1970]) in terms of the stratification of images and sounds. Drawing on Gilles Deleuze and Michel Foucault, Tom Conley writes that a diagram that depends upon the division between the visible and the enunciable may be comprehended in terms of a map and as a line of forces. Such strata can (...)
- Lee Grieveson (2018) Cinema and the wealth of nations: Media, capital, and the liberal world system.Will Kitchen - 2023 - Film-Philosophy 27 (2):370-373.
- Machine Vision and Encoded Behaviour in Harun Farocki's Later Work.Moses May-Hobbs - 2023 - Film-Philosophy 27 (2):301-325.Harun Farocki's films make use of a category of images the director calls “operational”, a term describing images, either photographic or computer-generated, that perform or participate in tasks, usually in military or industrial settings. Treatments of Farocki's films have frequently used the notion of the operational image uncritically, and without comparing Farocki's definition of these images with existing semiotic categories. This article seeks to situate Farocki's operational imagery within a theory of visual communication, and to explore the implications of automated (...)
- The Prehistoricity of Cinema: Werner Herzog's Cave of Forgotten Dreams.Daniel Spaulding - 2023 - Film-Philosophy 27 (2):282-300.This article argues that Werner Herzog's 2010 film Cave of Forgotten Dreams both enacts and undermines a desire for origins that was characteristic of 20th century modernist discourse. I argue that the aim of the film is literally to embody the origin of cinema, as figured in the recurring motif of projected light playing across the darkened walls of Chauvet Cave, the earliest known site of prehistoric painting. Drawing on texts by Wilson Harris, Giorgio Agamben, Jean-Luc Nancy, and Maxine Sheets-Johnstone, (...)
- Take My Breath Away: Review of Mila Zuo (2022) Vulgar beauty: Acting Chinese in the global sensorium. [REVIEW]Vivian L. Huang - 2023 - Film-Philosophy 27 (2):353-356.
- Freedom and the Weight of the Crown: Sartrean and Beauvoirian Existentialism in Peter Morgan's The Crown.Gabrielle Pozzo di Borgo - 2023 - Film-Philosophy 27 (2):326-352.In this article, I examine Peter Morgan's TV series The Crown (2016–present) through the lens of Sartrean and Beauvoirian existentialism. I argue that the character of Queen Elizabeth II holds a special place in the royal family, as the monarch who demonstrates the compatibility of duty and tradition with existential freedom and authenticity. I also demonstrate the series’ commitment to breaking the illusion of inhumanity that the royal family tries to maintain, by showing that the royals are not out-of-reach ideals, (...)
- Le récit au cinéma.Alain Masson - 1970 - Paris: Cahiers du cinéma.
- Dramatichnii︠a︡t ekran: opit za obshta teorii︠a︡ na kinoto.Nedelcho Nikolov Milev - 1995 - Sofii︠a︡: Narodna kultura.
- La mirada cercana: microanálisis fílmico.Santos Zunzunegui Díez - 1996 - Barcelona: Paidós.Los cinco estudios que componen este volumen estan dedicados a mostrar que es posible abordar el estudio de un film y por extension del cine en su conjunto a partir de fragmentos minimos extraidos de una obra concreta. Concebidos con una metodologia unitaria intentan, limitando al maximo el uso de esa jerga especializada que suele hacer de muralla entre el analista y el lector, proporcionar instrumentos operativos para todos aquellos que conciben el cine como territorio donde saber y placer no (...)
- Teorii︠a︡ na kinoizobrazhenieto.Bozhidar Manov - 1996 - Sofii︠a︡: Universitetsko izd-vo "Sv. Kliment Okhridski".
- Novye iskusstva i sovremennai︠a︡ kulʹtura: fotografii︠a︡ i kino.G. K. Pondopulo - 1997 - Moskva: VGIK. Edited by M. Rostot︠s︡kai︠a︡.
- Paradyhma kino.I͡Uriĭ Illi͡enko - 1999 - Kyïv: Abrys.
- Wahrheit und Wirklichkeit im Film: Philosophie des Dokumentarfilms.Klaus Arriens - 1999 - Würzburg: Königshausen & Neumann.
- Profán mitológia: a film és mágikus gondolkodás.Yvette Bíró - 1999 - Budapest: Osiris.
- Poėtika kino.B. Ėĭkhenbaum & Roza Kopylova (eds.) - 2001 - Sankt-Peterburg: Rossiĭskiĭ institut istorii iskusstv.Remove from this listExport citation Bookmark
- Subjectivity in Film: Mine, Yours, and No One's.Sara Aronowitz & Grace Helton - forthcoming - Ergo.A classic and fraught question in the philosophy of film is this: when you watch a film, do you experience yourself in the world of the film, observing the scenes? In this paper, we argue that this subject of film experience is sometimes a mere impersonal viewpoint, sometimes a first-personal but unindexed subject, and sometimes a particular, indexed subject such as the viewer herself or a character in the film. We first argue for subject pluralism: there is no single answer (...)
- Das schwarze Schamquadrat.Heinz Emigholz - 2002 - Berlin: Verlag Martin Schmitz.
- L'immagine dialogica: intertestualità e interdiscorsivismo nel cinema.Mariapia Comand - 2001 - Bologna: Hybris.
- Múzsák tükre: az intermedialitás és az önreflexió poétikája a filmben.Ágnes Pethő - 2003 - Csíkszereda: Pro-Print Könyvkiadó.
- Obrazy i rzeczy: film między mediami.Andrzej Gwóźdź - 2003 - Kraków: TAiWPN Universitas.
- Bi-tekstualʹnostʹ i kinematograf.A. R. Usmanova (ed.) - 2003 - Minsk: Propilei.
- Mafāhīm-i naqd-i fīlm: taḥlīl-i niʼūfurmālīstī va maqālāt-i dīgar.Majīd Islāmī & Kristin Thompson (eds.) - 2003 - Tihrān: Nashr-i Nay.
- Taʻāmul-i farhangī, ijtimāʻī-i fīlm-i mardumʹpasand.ʻAlī Shaykh Mahdī - 2004 - Tihrān: Sūrah-i Mihr.
- The Comparative Achievement Explanation of Artistic Value.Ian D. Dunkle - forthcoming - Southern Journal of Philosophy.There is broad agreement in aesthetics that some artworks are greater than others despite bearing equivalent (or lesser) aesthetic value. One explanation of this difference in artistic value is that creation of the greater artwork represents a greater achievement. The aim of this article is to refine this explanation and to defend it against recent criticisms. First, I present a prima facie case in favor of the achievement explanation. Second, I draw on the history of photography to motivate three objections (...)
- Brains, ectobrains, and the construction of a subgenre. [REVIEW]Michel-Antoine Xhignesse - 2022 - Metascience 32 (1):87-90.Review of Fernando Vidal's _Performing brains on screen_ (Amsterdam 2022).
- Prohujalo (sa) etrom: sedam televizijskih razgovora o filmu.Dejan Dabić - 2008 - Niš: Niški kulturni centar.
- Filosofii︠a︡ filʹma: uprazhnenii︠a︡ v analize.Vitaliĭ Kurennoĭ - 2009 - Moskva: Novoe literaturnoe obozrenie.
- Terrence Malick.David Davies - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge.Remove from this listExport citation Bookmark
- Andrei Tarkovsky.András Bálint Kovács - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge.
- Film as philosophy.Thomas E. Wartenberg - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge.Remove from this listExport citation Bookmark
- Tragedy and comedy.Deborah Knight - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge.Remove from this listExport citation Bookmark
- Avant-garde film.Maureen Turim - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge.Remove from this listExport citation Bookmark
- Horror.Aaron Smuts - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge.Remove from this listExport citation Bookmark
- Dogme 95.Mette Hjort - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge.Remove from this listExport citation Bookmark
- Documentary.Carl Plantinga - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge.Remove from this listExport citation Bookmark
- Wittgenstein.Malcolm Turvey - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge.Remove from this listExport citation Bookmark
- Semiotics and semiology.Joseph G. Kickasola - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge.Remove from this listExport citation Bookmark
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