How do movies evoke and express ethical ideas? What role does our emotional involvement play in this process? What makes the aesthetic power of cinema ethically significant? Cinematic Ethics: _Exploring Ethical Experience through Film_ addresses these questions by examining the idea of cinema as a medium of ethical experience with the power to provoke emotional understanding and philosophical thinking. In a clear and engaging style, Robert Sinnerbrink examines the key philosophical approaches to ethics in contemporary film theory and philosophy (...) using detailed case studies of cinematic ethics across different genres, styles, and filmic traditions. Written in a lucid and lively style that will engage both specialist and non-specialist readers, this book is ideal for use in the academic study of philosophy and film. Key features include annotated suggestions for further reading at the end of each chapter and a filmography of movies useful for teaching and researching cinematic ethics. (shrink)

George Wilson; Transparency and Twist in Narrative Fiction Film, The Journal of Aesthetics and Art Criticism, Volume 64, Issue 1, 8 March 2005, Pages 81–95, htt.

The documentary film is a popular curriculum tool, and the goal of this paper is to expand the educational significance of the documentary genre I argue that current understandings of this genre are limited and limiting, and offer an alternative perspective on the genre. This alternative will be built from Stanley Cavell’s philosophy of education, in particular, his understanding of the role that ‘representativeness’ plays in teaching and learning.

William Blake and film noir apparently had the same problem with the urban landscape. While Blake attempts to create a mental world within language that would give a new face of religion to offer comfort to the inhabitants of London, film noir in Los Angeles finds noise and nihilism in the absence of faith. Both struggle with Immanuel Kant, who claimed that reason actively makes the world worthwhile. Hickey and Boggs, a relatively obscure neo-noir movie from 1972, represents (...) the meaninglessness and noise of language, bereft of the religion of Blake and the reason of Kant. (shrink)

The film, as the term itself implies, entails a recording and a particular kind of writing. Nonetheless, this is not enough to consider it as a social object. It needs a formal and narrative structure and, above all, it needs an inscription in order to give it a sociality based upon its diffusion. The amateur movies represent a perfect example of this condition: they are often recordings without any inscription and remain within a very narrow communicative circle. They certainly (...) document something, but they do not have the form of a social object. Grizzly Man (Werner Herzog, 2005) is a movie by a director who did not shoot the most impressive scenes of it. Is Herzog an impostor? Certainly not. He is simply the man who gave an inscription to the amateur movies he found, transforming them into social objects. (shrink)

Even though philosophy of film is a relatively small and relatively young philosophical subfield, I argue that it is well worth a dedicated undergraduate course. I outline such a course below, with reference to particular anthologies of readings and a corresponding list of central topics. I recommend adopting a broad conception of film, to include moving image works in a range of formats and technological media, as well as an inclusive approach to philosophizing about film, one that (...) draws on the history of film theory, both the analytic and the continental philosophical traditions, critical race theory, and feminist theory. The aim of a philosophy of film course is to hone students’ philosophical skills in the service of a deeper appreciation of the art of moving images. (shrink)