About this topic
Summary

When many people hear "philosophy of film" they think "philosophy through film." That is, they think of work on the philosophical contributions made by film.  This middle category is home to work that explores the philosophy found in movies and philosophy done in conjunction with a film. It contains both philosophy in film and philosophy through film. The most common approach is that addressing a single film. Less common, some address the philosophy of a filmmaker. And, even less common, some work on the philosophical insights to be had from particular genres of film, such screwball comedy and the western.

Key works The special issue of the Journal of Aesthetics and Art Criticism on the philosophy of film (Smith & Wartenberg 2006) features several essays exploring the philosophic potential of film.  The exchange between Livingston 1991 and Smuts 2009 provides a good introduction to question, Can film do philosophy? Grau 2005 is an excellent example of philosophy through film.
Introductions Livingston 2010 provides an introduction to the area.
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223 found
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1 — 50 / 223
  1. Love, Death and Life's Summum Bonum: The Before Trilogy as Memento Mori.Anna Christina Ribeiro - manuscript
    I argue that Before Sunrise, Before Sunset, and Before Midnight are best seen as an example of memento mori art. Memento mori, the admonition to remember death, can take many forms, but the idea remains the same, namely that an awareness of our inevitable end should bear on how we live. I show how Richard Linklater’s warning works in each of the movies and argue that with the Before trilogy he makes a Frankfurt-style case that romantic love is life’s summum (...)
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  2. Nietzsche in Hollywood: Images of the Übermensch in Early American Cinema.Matthew Rukgaber - 2022 - Albany, NY, USA: State University of New York Press.
    ISBN 978-1-4384-9027-4 Argues that Nietzsche’s idea of the Übermensch was a central concern of filmmakers in the 1920s and 1930s. -/- Nietzsche in Hollywood offers a compelling and startling history of Hollywood film in which the German philosopher Friedrich Nietzsche and his idea of the Übermensch looms large. Though Nietzsche’s philosophy was attacked as egoistic and a sociopathic version of Darwinism in films from the 1910s, it undergoes a series of cinematic and philosophical transformations in the 1920s and 1930s under (...)
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  3. Kierkegaard’s Three Spheres and Cinematic Fairy Tale Pedagogy in 'Frozen,' 'Moana,' and 'Tangled'.A. G. Holdier - 2021 - Journal of Religion and Popular Culture 33 (2):105–119.
    Although Disney films are sometimes denigrated as popular or “low” art forms, this article argues that they often engage deeply with, and thereby communicate, significant moral truths. The capitalistic enterprise of contemporary modern cinema demands that cinematic moral pedagogy be sublimated into non-partisan forms, often by substituting secular proxies for otherwise divine or spiritual components. By adapting Søren Kierkegaard’s tripartite existential anthropology of the self, I analyze the subjective experiences of the protagonists in three recent animated fairy tales—Disney’s Frozen, Moana, (...)
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  4. “Teach Me To Do What’s Right”: Faith, Hope, and Love as Post-Religious Virtues.A. G. Holdier - 2021 - Journal for Cultural and Religious Theory 20 (3).
    According to Thomas Aquinas, what distinguishes the theological from the cardinal virtues is the nature of their object: the latter aim at the natural excellence of humans, while the former direct us beyond ourselves to focus on the Divine. This paper considers the cinematic work of Drew Goddard — in particular, his 2018 film _Bad Times at the El Royale_ — as a post-religious response to Aquinas, insofar as it retains and re-presents Faith, Hope, and Love as valuable elements of (...)
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  5. Is Alex Redeemable? "A Clockwork Orange" as a Philosophical-Literary Platonic Fable.Jones Irwin - 2021 - Journal of Science Fiction and Philosophy 4:1-10.
    This essay explores the philosophical significance of Anthony Burgess’s 1960s novel "A Clockwork Orange." Specific themes in this novel are developed through character and situation, in a way which takes cognisance of important problems in the history of philosophy. The essay looks at two particular themes in this context. The first relates to the epistemological question of the distinction between truth and illusion. The novel thematizes the demarcation between truth and illusion, or truth and appearance, and raises the issue of (...)
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  6. If Nancy Doesn’T Wake Up Screaming: The Elm Street Series as Recurring Nightmare.Steve Jones - 2021 - In Mark McKenna & William Proctor (eds.), Horror Franchise Cinema. London, England: Routledge. pp. 81-93.
    Long-running horror series are reputed to yield diminishing returns (both in terms of profit and quality). At first glance, the A Nightmare on Elm Street series appears to fit that established pattern. For instance, lead antagonist Freddy supposedly ‘deteriorates’ from sinister, backlit child molester to comic-book ‘Las Vegas lounge’ stand-up act by the end of the 1980s (Schoell and Spencer 1992, 116). However, interviews from the period indicate that comedy was a central component from the outset of the series; it (...)
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  7. Philosophers on Film: Before Sunrise, Before Sunset, Before Midnight.Hans Maes & Katrien Schaubroeck (eds.) - 2021 - Routledge.
    Richard Linklater’s celebrated Before trilogy chronicles the love of Jesse (Ethan Hawke) and Céline (Julie Delpy) who first meet up in Before Sunrise, later reconnect in Before Sunset and finally experience a fall-out in Before Midnight. Not only do these films present storylines and dilemmas that invite philosophical discussion, but philosophical discussion itself is at the very heart of the trilogy. This book, containing specially commissioned chapters by a roster of international contributors, explores the many philosophical themes that feature so (...)
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  8. Aguirre, Caché, and Creating Anti-Colonialist Puzzles: A Normative Perspective.Yusuf Yuksekdag - 2021 - In Handbook of Research on Contemporary Approaches to Orientalism in Media and Beyond. Hershey, PA, USA: pp. 165-180.
    This chapter explores the anti-colonial narrative potential of certain works of cinema taking Aguirre, the Wrath of God and Caché as a case in point. To do so, this chapter first and mainly draws upon the theoretical and normative lens put forward by Gayatri Chakravorty Spivak on the representation of the colonized other and her resulting political and intellectual call for self-reflection on one's privileged Western intellectual positioning. This lens has many normative implications for the ways in which the colonized (...)
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  9. When Dinosaurs Ruled the Earth: The Horror of Being Prey and Forgetting Nature, Yet Again, in Jurassic Park and Jurassic World.Eric Godoy - 2020 - In Jonathan Beever (ed.), Philosophy, Film, and the Dark Side of Interdependence. Lanham: Lexington Books. pp. 141-155.
    We constantly forget our interdependence with nature as we lose track of what “natural” means. Consider especially the American nostalgia for an imagined past believed to be lost; a past in which our relationship with nature was more authentic, more natural. Yet, as I argue below, such a past never really existed. The scary thing is, so long as that nostalgia guides our desire for a return to a “proper” relationship with nature, we’re bound to be misguided and forget again (...)
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  10. Chile 1988: Trauma and Resistance in Pablo Larrain's No (2012).Marguerite La Caze - 2020 - In Amy L. Hubbell, Natsuko Akagawa, Sol Rojas-Lizana & Annie Pohlman (eds.), Places of Traumatic Memory: A Global Context. London: pp. 285-307.
    No presents the television campaign for the 1988 plebiscite on whether the Pinochet regime should stay as the government for eight more years (‘Yes’) or hold democratic elections (‘No’). The ‘No’ campaign uses the Aristotelian idea that happiness is an intrinsic value and thus the best concept to galvanise a traumatised nation in favour of change. My paper examines the film’s presentation of how a response to the trauma of the regime becomes transformed into resistance through the idea of a (...)
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  11. Facing the Responsibility of Parenthood in the Films of the Dardenne Brothers.John McAteer - 2020 - Soundings: An Interdisciplinary Journal 103 (3):346-366.
    This article analyzes the way the films of Belgian writer-directors Jean-Pierre and Luc Dardenne portray characters taking responsibility for children and children allowing others to take responsibility for them. Though the philosophy of Emmanuel Levinas provides a starting point, this article focuses primarily on a close reading of the Dardennes' films themselves. It argues that these films illuminate the nature of parenthood and suggest a unified definition of parenthood that encompasses both biological parenthood and adoption. In both cases a parent (...)
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  12. Der Mensch im Spiegel seiner (Bild-) Schöpfung: Die ästhetisierte Anthropologie des Kamera-Auges in „Chelovek s kino-apparatom“ und „Blade Runner“.Peter Remmers - 2020 - Internationales Jahrbuch für Philosophische Anthropologie 9 (1):277-294.
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  13. The Dark Night of Ecological Despair: Awaiting Reconsecration in Paul Schrader’s First Reformed.Chandler D. Rogers & Tober Corrigan - 2020 - In Philosophy, Film, and the Dark Side of Interdependence. Lanham, Maryland: Lexington. pp. 69-81.
  14. The Eyes of God.Nigel R. Shadbolt & Paul Smart - 2020 - In Timothy Shanahan & Paul R. Smart (eds.), Blade Runner 2049: A Philosophical Exploration. Abingdon, UK: Routledge. pp. 206–227.
  15. The Philosophy of Werner Herzog.M. Blake Wilson & Christopher Turner (eds.) - 2020 - Lexington Books.
    Legendary director, actor, author, and provocateur Werner Herzog has incalculably influenced contemporary cinema for decades. This essay collection by professional philosophers and film theorists from around the globe offers a diversity of perspectives on how the thinking behind the camera is revealed in the action Herzog captures in front of it.
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  16. “You Ain’T Gonna Get Away Wit’ This, Django”: Fantasy, Fiction and Subversion in Quentin Tarantino’s, Django Unchained.Jack Black - 2019 - Quarterly Review of Film and Video 36 (7):611-637.
    From 2009 to 2015, U.S. director, Quentin Tarantino, released three films that were notable for their focus on particular historical events, periods and individuals (Inglorious Basterds 2009; Django Unchained 2012; The Hateful Eight 2015). Together, these films offered a specifically “Tarantinian” rendering of history: rewriting, manipulating and, for some, unethically deploying history for aesthetic effect. With regard to Django Unchained, this article examines how Tarantino’s historical revisionism provides a valuable point of inquiry into the ways in which “history” is depicted (...)
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  17. Philosophical Dimensions of Cinematic Experience.David Davies - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. New York: Routledge. pp. 135-156.
    This chapter critically examines the idea that some cinematic artworks “do philosophy”. It is argued that any interesting “film as philosophy” thesis must satisfy two conditions: (FP1) In any advance in philosophical understanding attributable to a cinematic artwork, the philosophical content through which such an advance is accomplished must be articulated in a manner that is distinctively cinematic, on a proper understanding of the latter; (FP2) The advance in philosophical understanding attributable to a cinematic artwork must occur in the course (...)
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  18. European Cinema and Continental Philosophy: Film as Thought Experiment, by Thomas Elsaesser. [REVIEW]Ekin Erkan - 2019 - Alphaville 18:232–238.
    Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser concedes that there (...)
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  19. Navigating Agamben’s Cinematic Paradox Via Laruellean Immanence: A Hacktivist Cast Study.Ekin Erkan - 2019 - MediaCommons 8:1-23.
    While many film theorists declare Agamben as, in equal part, a Deleuzian film theorist, I pose that, through this Benjaminian lens, we can parse distinctive cinematic questions that Agamben exclusively pursues - in particular, cinema's potential as a repurposive counter-dispositif to combat dominant forms via critique. This is not to suggest that parallels do not exist between Agamben and Deleuze’s approaches: as Meillassoux has noted, Deleuze's logic of representation (also known as "correlationism") develops an "image of thought that attempts to (...)
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  20. Philosophical Experience and Experimental Film.Chris Falzon - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. New York: Routledge. pp. 159-173.
    One way that philosophy can be related to film is via the notion of experiment. This connection is usually discussed in terms of similarities between film and the thought experiments that can be found within philosophical texts. However, rather than subsuming film to the philosophical thought experiment, which risks missing what film itself contributes to the proceedings, it is more interesting to see how the cinematic medium might allow for forms of experimentation that go beyond what can be undertaken within (...)
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  21. Introducing Cinematic Humanism: A Solution to the Problem of Cinematic Cognitivism.Britt Harrison - 2019 - Croatian Journal of Philosophy 19 (2):331-349.
    A Cinematic Humanist approach to film is committed inter alia to the following tenet: Some fiction films illuminate the human condition thereby enriching our understanding of ourselves, each other and our world. As such, Cinematic Humanism might reasonably be regarded as an example of what one might call ‘Cinematic Cognitivism’. This assumption would, however, be mistaken. For Cinematic Humanism is an alternative, indeed a corrective, to Cinematic Cognitivism. Motivating the need for such a corrective is a genuine scepticism about the (...)
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  22. Graham Jones and Ashley Woodward Acinemas: Lyotard's Philosophy of Film.Dominic Lash - 2019 - Film-Philosophy 23 (3):391-394.
    Review of Graham Jones and Ashley Woodward, eds., "Acinemas: Lyotard's Philosophy of Film" (Edinburgh University Press).
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  23. The Bold Thesis Retried: On Cinema as Philosophy.Paisley Livingston - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. New York: Routledge. pp. 81-91.
    This paper begins by presenting a simple model that maps some salient positions on the topic of cinema as philosophy, including the very strong claims that are constitutive of what has been stipulated to be “the bold thesis.” It is contended that examples that have been adduced in the literature as substantiating that bold thesis in fact only support weaker claims. It is argued in favor of accepting some such theses on the topic. It is then introduced a number of (...)
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  24. The Palgrave Handbook of Posthumanism in Film and Television by Michael Hauskeller, Thomas Philbeck, and Curtis Carbonell (Review). [REVIEW]Lantz Fleming Miller - 2019 - Film and History 49 (2):94-96.
    Science fiction has served the film industry like a dreamy stepchild. It gets only scant accolades from its master but must do heavy lifting: that is, make money. While science-fiction films often emphasize spectacle and action, they also inspire philosophical contemplation. Why? Science fiction, dating back to Shelley and Verne, came into existence speculating about humanity's social and physical worlds. Many books and articles over the past several years discuss the philosophical issues that films raise. One fairly new school of (...)
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  25. The Wartenberg-Smith Film as Philosophy Debate: Review of Current Controversies in Philosophy of Film. [REVIEW]Diana Neiva - 2019 - American Society for Aesthetics Graduate E-Journal 11 (1):1-13.
  26. Are There Definite Objections to Film as Philosophy? Metaphilosophical Considerations.Diana Neiva - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. Nova Iorque, NY, Estados Unidos: pp. 116-134.
    The “film as philosophy” (FAP) hypothesis turned into a field if its own right during the 2000s, after S. Mulhall’s On Film (2001). In this work, Mulhall defended that some films philosophize for themselves. This caused controversy. Around the same time of On Film’s release, B. Russell published the article “The philosophical limits of film” (2000). This article had one of the first attacks against FAP, posing some main objections based on metaphilosophical grounds, which were called the “generality” and the (...)
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  27. Could a Heptapod Act? Language and Agency in Arrival.James Pearson - 2019 - Film and Philosophy 23:48-68.
    Arrival offers a useful thought experiment in the philosophy of mind and language. Assessing human linguists' interpretive efforts to understand the alien heptapod form of life in both the movie and the novella from which it was adapted (Ted Chiang’s “Story of Your Life”) teach us how our understanding of selfhood shapes our conception of agency. Arrival’s reflexive commentary on the cinematic experience is also an argument for the value of learning to communicate in cinematic language.
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  28. Contemporary Philosophical Filmmaking.Thomas E. Wartenberg - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 491-511.
    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 (...)
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  29. Cinethique.Hugo Clemot - 2018 - Paris, France: Vrin.
    The moral importance of films to viewers is a dimension of the cinematic experience that has long been neglected. By describing the moral education powers of film, this book aims to encourage philosophers to practice the ethical reading of film works. This exercise helps to make intelligible important features of our lives, which academic forms of discourse tend to overlook. Taking our experience of films seriously should even reorient our conception of the tasks of ethics and the ways of doing (...)
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  30. Філософія кіно, метод моделювання та проблема декадентського кінотвору.Olga Kirillova - 2018 - NaUKMA Research Papers. History and Theory of Culture 1:17-23.
    Статтю присвячено реконструкції узагальненої моделі твору декадентського кінематографа як стилізованого кінематографа moderne, що є яскравим прикладом застосування філософської інтерпретації до кінематографа і феномену кінореальності. Ця модель має такі рівні: морфологічний, стилістичний, інтертекстуальний, ритмічний, аудіальний, тактильний, монтажний, специфічно-антропологічний і специфічно-наративний.
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  31. Cinematic Realism: A Defence From Plato to Gaut.Rafe McGregor - 2018 - British Journal of Aesthetics 58 (3):225-239.
    The purpose of this paper is to defend a particular kind of cinematic realism, anti-illusionism, which is the thesis that cinematic motion is real. Following a brief introduction to realism and cinema in Section 1, I analyse Berys Gaut’s taxonomy of cinematic realism and define anti-illusionism in Section 2. Section 3 contrasts the anti-illusionist theories of Gregory Currie and Trevor Ponech with the illusionist theories of Andrew Kania and Gaut. I reconceptualize the debate in terms of Tom Gunning’s cinematic animation (...)
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  32. Can Films Philosophize? The Rationality and Imposition Objections.Diana Neiva - 2018 - Dialectic Journal 12 (I):22-29.
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  33. Can Film Show What Philosophy Won't Say? The "Film as Philosophy" Debate, and a Reading of Rashomon.Jônadas Techio - 2018 - Dissertatio 47 (S6):69-105.
    Seguindo os passos de Stanley Cavell e de Stephen Mulhall, argumentarei neste artigo que o cinema pode oferecer contribuições genuínas para a filosofia. Para tanto procurarei mostrar que os principais obstáculos para considerar o cinema como capaz de fazer filosofia derivam de pontos de vista bastante restritivos sobre a natureza da racionalidade, da cognição, do significado - e, finalmente, da filosofia e do cinema eles mesmos. Apresentarei alguns desses obstáculos e indicarei formas de removê-los, adotando uma interpretação mais ampla dessas (...)
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  34. The Phantasmatic Reality: A Phenomenological Study of the Cinematic Imagination.Przemysław Bursztyka - 2017 - In Christine Reeh & José Manuel Martins (eds.), Thinking Reality and Time through Film. Cambridge, UK: Cambridge Scholars Publishing. pp. 35-47.
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  35. Поезія і/чи проза: до археології однієї дискусії в радянському кіно.Briukhovetska Olga - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:33-41.
    У дослідженні проаналізовано теоретичні джерела і політичні наслідки статті московського кінокритика М. Блеймана «Архаїсти чи новатори?» (1970), яку вважають обґрунтуванням заборони школи українського поетичного кіно як «безперспективного» напряму. Статтю М. Блеймана вміщено в контекст дискусії про поетичне і прозаїчне кіно, яку систематизовано щодо двох підходів: нормативного, який вважає лише один із напрямів кіно релевантним його природі (йому відповідає сполучник «чи»), і плюралістичного, який розглядає обидва напрями як актуалізації різних кінематографічних потенцій згідно з тими завданнями, що ставлять режисери (йому відповідає сполучник (...)
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  36. Volodymyr Vynnychenko and the Early Ukrainian Decadent Film (1917–1918).Kirillova Olga - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:52-55.
    The article is focused on the phenomenon of the early Ukrainian decadent cinema, in particular, in relation to filmings of Volodymyr Vynnychenko’s dramaturgy. One of the brightest examples of ‘film decadence’ in Vynnychenko’s oevre is “The Lie” directed by Vyacheslav Vyskovs’ky in 1918, discovered recently in the film archives. This film displays the principles of ‘ethical symbolism’, ‘dark’ expressionist aesthetics and remains the unique masterpiece of specifically Ukranian film decadence.
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  37. Cinephilia and Philosophia: Or, Why I Don't Show The Matrix in Philosophy 101.Timothy Yenter - 2017 - In Rashna Wadia Richards & David T. Johnson (eds.), For the Love of Cinema: Teaching Our Passion In and Outside the Classroom. Bloomington, IN: Indiana University Press.
    The shelves of film and philosophy books should have made it considerably easier to teach with films in introductory philosophy classes, and certainly many philosophers have found them useful. However, shortcomings of many of these pop culture volumes (which I discuss in the next section) make these works rarely useful in the classroom. I propose instead a new model for how to teach film in a philosophy class. The model develops the virtues inherent in cinephilia and connects those virtues to (...)
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  38. Decalogue Five: A Short Film About Killing, Sin, and Community.Michael Baur - 2016 - In Eva Badowska & Francesca Parmeggiani (eds.), Of Elephants and Toothaches: Ethics, Politics, and Religion in Krzysztof Kieslowski’s Decalogue. New York, NY, USA: Fordham University. pp. 122-139.
    Decalogue Five tells the story of Waldemar Rekowski (Jan Tesarz), a jaded taxi driver, Piotr Balicki (Krzysztof Globisz), an idealistic, newly-licensed attorney, and Jacek Lazar (Mirosław Baka), a young and troubled drifter, whose lives intersect with one another as a result of fate, or contingent circumstance, or some combination of both. With brutal detail and detachment, the film depicts Jacek’s seemingly aimless wanderings through Warsaw, his senseless killing of Waldemar, his interactions with Piotr (his court-appointed attorney), and his eventual execution (...)
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  39. Le plan subjectif réversible: Sur le point de vue au cinéma à partir des écrits de Merleau-Ponty.Anna Caterina Dalmasso - 2016 - Studia Phaenomenologica 16:135-162.
    When I am watching a movie, I perceive on the screen a space, which is united and lived, even if it appears as fragmented and separated from the world in which I live. But is the space of the cinematic frame equivalent or commensurable with the one I see through my own eyes? Are they opposed to each other or do they merge together? The most amazing example of the possible convergence of gaze and frame the film realizes is the (...)
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  40. Horrible Heroes: Liberating Alternative Visions of Disability in Horror.Melinda Hall - 2016 - The Disability Studies Quarterly 36 (1).
    Understanding disability requires understanding its social construction, and social construction can be read in cultural products. In this essay, I look to one major locus for images of persons with disabilities—horror. Horror films and fiction use disability imagery to create and augment horror. I first situate my understanding of disability imagery in the horror genre using a case study read through the work of Julia Kristeva. But, I go on to argue that trademark moves in the horror genre, which typically (...)
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  41. "Remember Leonard Shelby": 'Memento' and the Double Life of Memory.Robert Hopkins - 2016 - In Julian Dodd (ed.), Art, Mind, and Narrative: Themes from the Work of Peter Goldie. Oxford University Press. pp. 89-99.
    Christopher Nolan’s Memento illustrates and explores two roles that memory plays in human life. The film’s protagonist, Leonard Shelby, cannot ‘make new memories’. He copes by using a ‘system’ of polaroids, tatoos, charts and notes that substitutes for memory in its first role, the retention of information. In particular, the system is supposed to help Leonard carry out his sole goal: to find and kill his wife’s murderer. In this it proves a disastrous failure. But are we so very much (...)
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  42. A View to a Kill: Perspectives on Faux-Snuff and Self.Steve Jones - 2016 - In Neil Jackson, Shaun Kimber, Johnny Walker & Thomas Watson (eds.), Snuff: Real Death and Screen Media. Bloomsbury Academic. pp. 277-294.
    Scholarly debate over faux-snuff’s content has predominantly focused on realism and affect. This paper seeks to offer an alternative interpretation, examining what faux-snuff’s form reveals about self. Faux-snuff is typically presented from a first-person perspective (killer-cam), and as such is foundationally invested in the killer’s experiences as they record their murder spree. First then, I propose that the simulated-snuff form reifies self-experience in numerous ways. Faux-snuff’s characteristic formal attributes capture the self’s limited, fractured qualities, for example. Second, I contend that (...)
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  43. A View to a Kill: Perspectives on Faux-Snuff and Self.Steve Jones - 2016 - In N. Jackson, S. Kimber, J. Walker & T. Watson (eds.), Snuff: Real Death and Screen Media. London, U.K.: Bloomsbury. pp. 277-292.
    Scholarly debate over faux-snuff’s content has predominantly focused on realism and affect. This paper seeks to offer an alternative interpretation, examining what faux-snuff’s form reveals about self. Faux-snuff is typically presented from a first-person perspective, and as such is foundationally invested in the killer’s experiences as they record their murder spree. First then, I propose that the simulated-snuff form reifies self-experience in numerous ways. Faux-snuff’s characteristic formal attributes capture the self’s limited, fractured qualities, for example. Second, I contend that the (...)
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  44. The Relevance of Heidegger’s Conception of Philosophy to the Film-as-Philosophy Debate.Shawn Loht - 2016 - Film and Philosophy 19:34-53.
    Provides an account of philosophy adopted from Being and Time and later works of Heidegger in order to respond to key questions in the film-as-philosophy debate. I follow the school of Stanley Cavell, Robert Sinnerbrink, and Stephen Mulhall in the view that philosophy occurs in film in phenomenological ways that transcend mere argumentative discourse and logical analysis. Some of the views I counter include those of Bruce Russell and Paisley Livingston.
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  45. Rivette’s The Nun: Religion Between Sadism and Masochism.Stellino Paolo - 2016 - Journal of Religion and Film 20 (1):Article 8.
  46. Philosophy and the Patience of Film in Cavell and Nancy.Daniele Rugo - 2016 - Palgrave.
    With a foreword by Jean-Luc Nancy -/- Philosophy and the Patience of Film presents a comparative study of the work of Jean-Luc Nancy and Stanley Cavell. It discusses the effect of their philosophical engagement with film, and proposes that the interaction between philosophy and film produces a power of patience capable of turning our negation of the world into a relation with it. -/- Through detailed readings of cinematic works ranging from Hollywood classics to contemporary Iranian cinema, this book describes (...)
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  47. Consumerism, Aristotle and Fantastic Mr. Fox.Matt Duncan - 2015 - Film-Philosophy 19 (1):249-269.
    Wes Anderson's Fantastic Mr. Fox is about Mr. Fox's attempt to flourish as both a wild animal and a consumer. As such, this film raises some interesting and difficult questions about what it means to be a member of a certain kind, what is required to flourish as a member of that kind, and how consumerism either promotes or inhibits such flourishing. In this paper I use Fantastic Mr. Fox as an entry point into an examination of the relationship between (...)
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  48. Kantian Themes in The Elephant Man.Christopher Grau - 2015 - Film and Philosophy 19:164-173.
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  49. Portraits of Egoism in Classic Cinema II: Negative Portrayals.Gary James Jason - 2015 - Reason Papers 37 (1).
    In this essay, I look at two negative portrayals of egoism. I summarize in detail the superb All About Eve—which won six Academy Awards, including Best Picture. The movie is about the rise of a ruthlessly ambitious actress, and how she treats her main competitor. Eve Harrington worms her way into top theatrical actress Margo Channing’s inner circle by pretending to be an admirer, but she is really a schemer who wants to eclipse Margo’s star in the theater universe. However, (...)
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  50. Torture Pornopticon: Security Cameras, Self-Governance and Autonomy.Steve Jones - 2015 - In Xavier Aldana Reyes & Linnie Blake (eds.), Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon. Bloomsbury.
    ‘Torture porn’ films centre on themes of abduction, imprisonment and suffering. Within the subgenre, protagonists are typically placed under relentless surveillance by their captors. CCTV features in more than 45 contemporary torture-themed films. Security cameras signify a bridging point between the captors’ ability to observe and to control their prey. Founded on power-imbalance, torture porn’s prison-spaces are panoptical. Despite failing to encapsulate contemporary surveillance’s complexities, the panopticon remains a dominant paradigm within surveillance studies because it captures essential truths about the (...)
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