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  1. 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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  • Film art, argument, and ambiguity.Murray Smith - 2006 - Journal of Aesthetics and Art Criticism 64 (1):33–42.
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  • Film as Philosophy: The Very Idea.Stephen Mulhall - 2007 - Proceedings of the Aristotelian Society 107 (1pt3):279-294.
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  • Spike Lee and the sympathetic racist.Dan Flory - 2006 - Journal of Aesthetics and Art Criticism 64 (1):67–79.
  • Emotion and anecdote in philosophical argument: The case of Havi Carel's illness.Mikel Burley - 2011 - Metaphilosophy 42 (1-2):33-48.
    Abstract: Critics of Havi Carel's 2008 book, Illness: The Cry of the Flesh, have contended that Carel's deployment of phenomenological philosophy adds little to commonsense views about illness and that Carel relies too heavily on emotion-laden autobiographical anecdotes. Against these contentions this article argues: first, that a perfectly respectable task of philosophy is to find reasons to support pre-existing beliefs; and secondly, that Carel's use of anecdotes, while certainly appealing to readers' emotions, constitutes part of a legitimate argumentative strategy. The (...)
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