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 (...) nature of time. Films as diverse as Mizoguchi’s Tales of Ugetsu, Resnais’s Hiroshima mon Amour, and Guzmán’s Nostalgia for the Light take an uncanny approach to the subject, expressing the paradoxical coexistence of life and death and of different temporal dimensions. This article explores the philosophical concept of the death-image and time through a Deleuzian approach to cinema, meditating on the flashback, the coexistence of the present and the past, and the emergence of a new type of Lazarean character – one who returns from the dead. The article aims to clarify not simply death’s unquestionable omnipresence in film but also cinema’s role as a contemporary version of the trope of memento mori. (shrink)

Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional ‘novum’ validated by cognitive (...) logic.” While Suvin conceives of his characterization as a necessary and sufficient condition for membership in the genre, I propose to cast the notions of “fictional novum” and “cognitive validation” as standard features of the genre, which works of science fiction should have but might lack. I argue that this amended version of Suvin’s characterization can better account for two basic properties of science fiction as a genre, namely its historicity and its relevance to appreciation. Lastly, I show that the amended version can shed some light on the affinity between works of science fiction and philosophical thought experiments. (shrink)

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 (...) noções. A compreensão resultante será então elaborada em mais detalhes por meio da leitura de um filme específico - Rashomon, de Akira Kurosawa - que considero uma obra exemplar de ficção cinematográfica capaz de refletir filosoficamente sobre a natureza da realidade e de nossa própria existência. Essa leitura será enriquecida por meio de um "interlúdio heideggeriano" que trata da importância dos estados de ânimo para nos sintonizar com o mundo. Finalmente, e com essas considerações em mãos, concluirei minha análise de Rashomon e farei um balanço dos resultados. (shrink)

In this paper, I argue that Michael Powell and Emeric Pressburger's ballet musical The Red Shoes is concerned with topics surrounding phenomenology, action, and embodied agency, and that it exploits resources that are uniquely cinematic in order to “do philosophy.” I argue that the film does philosophy in two ways. First, it explicates a phenomenological model of action and agency. Second, it addresses itself to the philosophical question of whether an individual's non-reflective movements – those that are not the result (...) of deliberation or practical reasoning – are properly understood to be actions attributable to her as her own. (shrink)

Without doubt, there is a widespread usage of visualisations in science. However, what exactly the _epistemic status_ of these visual representations in science may be remains an open question. In the following, I will argue that at least some scientific visualisations are indispensible for our cognitive processes. My thesis will be that, with regard to the activity of _learning_, visual representations are of relevance in the sense of contributing to the aim of _scientific_ _understanding_. Taking into account that understanding can (...) be regarded as an epistemic desideratum in its own right, I will argue that, at least in some instances, no understanding can be achieved without the aid of visualisations. Consequently, they are of crucial importance in this process. Moreover, to support this thesis we will make use of some findings in educational psychology. (shrink)

This article surveys influential views on the topic of film-as-philosophy, principally the positions of Bruce Russell, Thomas Wartenburg, Noël Carroll, and Stephen Mulhall. Historically, this conversation has been restricted to a somewhat conservative view initiated by Russell and defended by others, according to which the film medium is fundamentally incapable of generating positive philosophical achievement in purely cinematic fashion. One of my interests is to show how the dialogue initiated by Russell suffers from relying on overly restrictive notions of what (...) philosophy is and the ways in which it occurs. A goal of the article is to articulate the phenomenological suppositions embedded in the very concept of film-as-philosophy, particularly insofar as the concept seems to assume a phenomenological model that unites screen and viewer. I argue that the origins of the debate overlook the aspect in which films do not engage in philosophical activity completely in their own right, but that instead, this occurrence is essentially predicated upon the participative aspect of the viewer experience. In the course of summarizing each of the leading positions, I describe how the history of the debate has gradually anticipated an appreciation of the phenomenological manner in which screen and viewer co-instantiate philosophy’s occurrence through film. I defend Mulhall’s position and devote some space to drawing out the manner in which his argumentation regarding film-as-philosophy supposes a fundamental screen-viewer dynamic that is phenomenological in nature. (shrink)

Although the cinematic medium can be used in philosophically valuable ways, bold contentions about how films 'do philosophy' in an independent, innovative and exclusively cinematic manner are highly problematic. Philosophers' interpretations of the stories conveyed in cinematic fictions do not actually support such bold claims about film's independent philosophical value; nor do they offer adequate appreciations of the films' artistic value. Different kinds of interpretations having different goals and conditions of success should be kept in view if we are to (...) take a sufficiently critical perspective on contributions in this area. In particular, 'as if' interpretations in which a philosophical problematic is freely applied to elements of a movie's story are contrasted to interpretations that target a film author's actual philosophizing. (shrink)

Over the last century within the philosophy of mind, the intersubjective model of self has gained traction as a viable alternative to the oft-criticised Cartesian solipsistic paradigm. These two models are presented as incompatible inasmuch as Cartesians perceive other minds as “a problem” for the self, while intersubjectivists insist that sociality is foundational to selfhood. This essay uses the Paranormal Activity series (2007–2015) to explore this philosophical debate. It is argued that these films simultaneously evoke Cartesian premises (via found-footage camerawork), (...) and intersubjectivity (via an ongoing narrative structure that emphasises connections between the characters, and between each film). The philosophical debates illuminate premises on which the series’ story and horror depends. Moreover, Paranormal Activity also sheds light on the theoretical debate: the series brings those two paradigms together into a coherent whole, thereby suggesting that the two models are potentially compatible. By developing a combined model, scholars working in the philosophy of mind might better account for the different aspects of self-experience these paradigms focus on. (shrink)

Danny Boyle's film Yesterday is a contemporary morality play in which the main character, Jack Malik, a failing singer-songwriter, is magically sent to a different possible world in which the Beatles never existed. Possessing his memory of the Beatles’ catalogue in the new possible world, he is now in sole possession of an extremely valuable artifact. Recording and performing the songs of the Beatles and passing them off as his own, he becomes rich, famous, and deeply unhappy. Once he confesses (...) his wrong-doing, however, he is redeemed and his life becomes wonderful. The presupposition that underlays the plot is that in claiming authorship of the songs of the Beatles in a world in which the Beatles never existed, he is acting immorally. But on what theoretical grounds can this intuitive judgment be justified? Can one plagiarize work for which there is no author in one's world? Saul Kripke, in Naming and Necessity, dubs terms that refer in all possible worlds to be “rigid designators” and considers the metaphysics necessary to support them. In this case, it is not reference but moral responsibility that is invariant under changes of possible world and so we must ask a similar question for “rigid obligators.” We argue that a virtue ethics approach is the only way to support the foundational moral intuition. (shrink)

There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a sub-category of Art proper, it is worth re-considering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. T. W. Adorno, for example, critiques film as ‘mass-cult’; mass produced culture which presents a ‘flattened’ version of (...) reality. Adorno worries about the passivity encouraged in viewers. Films are narrative artworks, received by an audience in a context, making the focus on the reception of the work important. The dialogue held between Adorno and Walter Benjamin post-WWII is interesting because, between them, they consider both the possible positive emancipatory and negative politicization effects of film as a mass produced and distributed story-telling medium. Reading Adorno alongside Benjamin is a way to highlight the role of the critical thinker who receives the film. Arguing that the critical thinker is a valuable citizen, this paper focuses on the value of critical thinking in the reception of cinematic artworks. It achieves this by reconsidering Adorno and Benjamin 's theories of mass art. (shrink)

There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a subcategory of Art proper, it is worth reconsidering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. Adorno, for example, critiques film as ‘mass-cult’, mass-produced culture which presents a ‘flattened’ version of reality. Adorno worries (...) about the passivity encouraged in viewers. Films are narrative artworks, received by an audience in a context, making the focus on the reception of the work important. The dialogue held between Adorno and Walter Benjamin post-Second World War is interesting because, between them, they consider both the possible positive emancipatory and negative politicization effects of film as a mass produced and distributed storytelling medium. Reading Adorno alongside Benjamin is a way to highlight the role of the critical thinker who receives the film. Arguing that the critical thinker is a valuable citizen, this paper focuses on the value of critical thinking in the reception of cinematic artworks. It achieves this by reconsidering Adorno and Benjamin’s theories of mass art. (shrink)

What aesthetic interest do we have in watching films? In a much debated paper, Roger Scruton argued that this interest typically comes down to the interest in the dramatic representations recorded by such films. Berys Gaut and Catharine Abell criticized Scruton’s argument by claiming that films can elicit an aesthetic interest also by virtue of their pictorial representation. In this article, we develop a different criticism of Scruton’s argument. In our view, a film can elicit an aesthetic interest that does (...) not come down to an interest in the dramatic representation or in the pictorial representation. We will argue that this is a distinctively cinematic interest. In section I we outline Scruton’s argument. In section II we point out an interest in how the cinematic medium presents the portrayed subject as detached from the spectator’s environment. In section III, by referring to Wittgenstein’s account of the contemplation from outside, we contend that the interest in films introduced in section II can count as an aesthetic interest. In section IV we argue that both documentaries and fiction films can elicit this kind of interest. In section V we compare the three different kinds of aesthetic interest that, in our view, a film can elicit. In section VI we describe the corresponding kinds of cinematic achievements. (shrink)

This inaugural handbook documents the distinctive research field that utilizes history and philosophy in investigation of theoretical, curricular and pedagogical issues in the teaching of science and mathematics. It is contributed to by 130 researchers from 30 countries; it provides a logically structured, fully referenced guide to the ways in which science and mathematics education is, informed by the history and philosophy of these disciplines, as well as by the philosophy of education more generally. The first handbook to cover the (...) field, it lays down a much-needed marker of progress to date and provides a platform for informed and coherent future analysis and research of the subject. -/- The publication comes at a time of heightened worldwide concern over the standard of science and mathematics education, attended by fierce debate over how best to reform curricula and enliven student engagement in the subjects There is a growing recognition among educators and policy makers that the learning of science must dovetail with learning about science; this handbook is uniquely positioned as a locus for the discussion. -/- The handbook features sections on pedagogical, theoretical, national, and biographical research, setting the literature of each tradition in its historical context. Each chapter engages in an assessment of the strengths and weakness of the research addressed, and suggests potentially fruitful avenues of future research. A key element of the handbook’s broader analytical framework is its identification and examination of unnoticed philosophical assumptions in science and mathematics research. It reminds readers at a crucial juncture that there has been a long and rich tradition of historical and philosophical engagements with science and mathematics teaching, and that lessons can be learnt from these engagements for the resolution of current theoretical, curricular and pedagogical questions that face teachers and administrators. (shrink)

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 (...) “explicitness” objections. These objections made by Russell and by M. Smith are based on the idea that film and philosophy are too different in their purposes or ways of presentation, ideas that are grounded in implicit or explicit conceptions of philosophy. In this chapter, these will be analyzed, as well as some other metaphilosophically grounded objections, as a line of reasoning connecting to attempts of responding to them will be drawn. After doing so, it will be concluded that their metaphilosophical grounds are implausible, and, thus, they are not definite objections against FAP. (shrink)

If Lipman’s claim that philosophy is the discipline whose central concern is thinking is true, then any attempt to improve students’ scientific critical thinking ought to have a philosophical edge. This chapter explores that position. -/- The first section addresses the extent to which critical thinking is general – applicable to all disciplines – or contextually bound, explores some competing accounts of what critical thinking actually is and considers the extent to which scientific thinking builds on, or is quite different (...) from, generic thinking. Evidence that traditional science education does not teach scientific thinking well leads to the conclusion that some different pedagogical approach needs to be added to science curricula. -/- The second section surveys several approaches to ‘minds-on’ science education, each of which shares an emphasis on the students identifying areas of puzzlement, rigorous discussion of these puzzles, attention to metacognition and opportunities to address thinking across different contexts. -/- Finally, a summary of the main conclusions is followed by consideration of possible objections and suggestions as to further research that could help to clarify and fine-tune the teaching of good scientific thinking in primary and secondary schools. (shrink)

I argue that what’s so bad (qua film fiction) about the cinematic practice of actor-character race-mismatching—be it the historically infamous and intuitively repugnant practice of blackface or one of its more contemporary kin—is that the extent to which film-fictions employ such practices is typically the extent to which such film-fictions unrealistically depict facts about race. More precisely, I claim that race-mismatching film fictions—understood as a species of unrealistic fiction—are prima facie inconsistent fictions with the capacity to mislead their audiences about (...) certain morally relevant actual-world states-of-affairs and thus, prima facie aesthetically, epistemically, and morally defective. (shrink)