This essay is part of a doctoral dissertation presented to the Department of Philosophy, University of São Paulo, in 1993, named 'Genealogy of the Real' . Its core idea is a Nietzschean approach to a masterpiece among philosophical inspired movies, namely, Akira Kurosawa's Rashomon, which surely touches deep groundings of the concept of truth and reality.

Alain Badiou in his philosophy on ethics underscores four fields of truth procedures—love, politics, art, and science—that seek to break with the existing order or conventional flow of things. These four fields indicate both collective (politics, art, and science) as well as individual (love) instances of the subject’s relationships and actions. The individual realm of ‘love’, which is the central focus of this study, however, as a generic, complex category does not clearly explicate the significance of the associated concept, friendship. (...) Akira Kurosawa’s filmography is illustrative as it opens up a possibility for disentangling the concept of friendship from love along with making significant contributions to the ethics of truth, particularly with respect to the “friendship event”. His films vividly capture some of the essential themes of Badiou’s philosophy of truth ethics, including “break”/“encounter”, referred to as ‘event’, “keep going”/“perseverance”, and “fidelity”. Even if the philosophers Badiou and Kurosawa do not make direct references to each other’s works, this research reveals significant parallels between cinephilosophy created through “cine-images” and the written philosophy. By analyzing Kurosawa’s films in the light of Badiou’s philosophy of truth ethics, and vice versa, this study embarks on exploring the complementarities between the works of the two. The study showcases how love and friendship as truth procedures are formed in particular contexts in Kurosawa’s filmography, and how they intersect with other truth events, particularly politics. Most importantly, this study does not view Badiou’s “truth events” such as love, friendship, and politics as mutually exclusive categories; rather, they are seen as complementary in practice. (shrink)

Akira Kurosawa is arguably known as the director who opened up Japanese film to Western audiences and following his death in 1998, a process of reflection has begun about his life's work as whole and its legacy to the cinema and its global audiences. Rashomon has arguably become the best known Japanese film, ever. After this, his twelfth film, Kurosawa's reputation was firmly established in international cinema, and Rashomon continues to be discussed and imitated more than sixty (...) years after its first screening. This volume addresses issues beyond the realm of Rashomon within film studies, and to do with the Rashomon effect which itself has become a widely recognized English term referring to significantly different perspectives and interpretations of different eyewitnesses to the same dramatic event. The dual figures of ripples and circles comprise the organizing image and principle of this book as each chapter addresses either the movement of ripples, representing the continuing and vibrant influence of Rashomon effects into the twenty-first century, or of circles, representing specific events, such as the publication of a new script, a particular production, or a remake. (shrink)

Much of the contemporary philosophical literature on authenticity is secondary work on figures like Kierkegaard, Nietzsche, Heidegger, Sartre, and Camus. I would like to find a different voice by searching for inspiration in the artistic expression that the theme of authenticity has found in the oeuvre of the Japanese film-maker Akira Kurosawa. To be authentic is to be true to ourselves. But what is it to be true to ourselves? The locution suggests that authenticity has something to do (...) with the self and has something to do with being truthful or sincere. Kurosawa’s *Ikiru* illustrates that authenticity requires the creation of a coherent self-image. *Rashomon* illustrates that authenticity requires an attitude of sincerity. -/- There is a tension between both components, which accounts for the precarious nature of the project of authenticity. Much of Kurosawa’s oeuvre can be seen as an exploration of this theme. (shrink)

_Seven Samurai_ Directed by Akira Kurosawa Japan, 1954.

Taking as starting point Akira Kurosawa’s film, I analyse the tension between the reconstructive nature of memory and the possibility of knowing truths from the past, and I explore if the tendency to align our personal memories to our present interests necessarily leads to an sceptic and relativistic vision of the knowledge from the past.

_Rashomon_ Directed by Akira Kurosawa Japan, 1951.

Many of us have experienced a peculiar feeling of freedom, of the world being open before us. This is the feeling that is captured by phrases like “the freedom of the open road” and “free spirits,” and, to quote Phillip Larkin, “free bloody birds” going “down the long slide / To happiness, endlessly.” This feeling is associated with the ideas that my life could go in many different directions and that there is a vast range of things that I could (...) become. It arises in concert with a wide range of human experiences, including experiences of artistic creation, play, fun, and resistance to authority. This freedom of openness and spontaneity, which I call spontaneous freedom, is central to our ordinary talk about freedom. Yet it is a phenomenon largely ignored in discussions of freedom in contemporary moral philosophy. This is because moral philosophers are primarily concerned to identify the sort of freedom that is a prerequisite for moral responsibility, and so focus on deliberate, voluntary action rooted in rational choice. When moral philosophers do discuss spontaneous freedom, it is often to disparage it as, in the words of Harry Frankfurt, the freedom of “the wanton” whose liberty is merely that of “anarchic impulsive behavior.” My dissertation develops a theory of spontaneous freedom and of the role it does and should play in our lives, including our moral and political lives. I argue that, to do full justice to the human aspiration for freedom, moral and political theory must recognize the value of spontaneity. Through a study of characters from stories and films by Virginia Woolf, Saki, Akira Kurosawa, and Aman Sethi, I develop a phenomenological account of the nature of spontaneous freedom. I argue that we experience spontaneous freedom when we experience our actions as arising out of ourselves but not fixed in advance either by the decisions of other agents or by our own preexisting commitments or plans. I further argue that spontaneous freedom is valuable because it allows for the distinctive pleasure of feeling that one’s life is unforetold and that one is among the sources of novelty in the world, a feeling that is central to artistic creativity. It also affords solace from the anxiety associated with the inevitability of death. As with many experiences, like falling in love or seeing an alpine lake, experiences of spontaneous freedom are most valuable when they are veridical. But even the subjective experience of spontaneous freedom, I suggest, activates our awareness of and openness to possibility. Achieving this awareness, at least on occasion, is valuable because it provides us with a sense of our own psychological potential and sharpens a skill that contributes to practical deliberation. My claim that spontaneous freedom is valuable conflicts with a popular account of the self. According to that account—endorsed by a number of moral philosophers but most famously associated with Christine Korsgaard—the ideal self is one that is well-ordered, actively constituted through rational deliberation. Such integrity theories of the self are attractive because they provide an account of agency according to which ideal moral agents invariably endorse their own actions and beliefs. Integrity theories view freedom as involving rational, deliberative control of one’s actions. But I argue that integrity theories forbid well-constituted moral agents to seek out experiences of spontaneous freedom: such agents must act in a manner that they antecedently and reflectively endorse, while spontaneous freedom requires acting in a manner not antecedently fixed by one’s own decisions. Insofar as spontaneous freedom is a kind of freedom that we do and should value, my account exerts pressure on this standard view of agency and the self. My account of spontaneous freedom also has important political implications. One version of liberal theory holds that the only sort of political freedom worth having is the freedom of each individual to effectively exercise choice compatibly with every other individual doing likewise. On this picture, I have all of the freedom that I could want if I am able to choose autonomously and act in accordance with my choices. But I argue that a community that secures this liberal variety of freedom does not yet provide its members with all the freedom for which people rightly yearn. When public and private institutions arrange our circumstances in ways that make the courses of our lives predictable, our own choices about how to act may be largely settled by the plans and decisions of other agents. This in turn makes it difficult for us to regard our futures as open in the way that is characteristic of experiences of spontaneous freedom. States should promote spontaneous freedom by providing the material and social preconditions for us to feel that our lives could head in radically different and unanticipated directions. (shrink)

One of several life-affirming themes in Viktor Frankl’s classic Man’s Search for Meaning is the inviolate character of human freedom. Contrasting what he calls “inner freedom” with the dire external restrictions he experienced as a prisoner at Auschwitz and other concentration camps, Frankl insists that no matter how restrictive and dehumanizing one’s situation, the exercise of this internal freedom is always a possibility. Similar sentiments are found in Camus’s The Myth of Sisyphus. Though it contains elements of a typical 1980s (...) American action movie, on closer inspection, Andrei Konchalovsky’s 1985 film, Runaway Train, proves far from typical. In interviews, Konchalovsky draws parallels between the film—based on an original screenplay by Akira Kurosawa—and philosophical themes in Dostoyevsky, and identifies the “relativity of freedom” as one of its primary concerns. My article uses Konchalovsky’s Runaway Train to shed light on the hard-won vision of the inviolate nature of human freedom on display in Frankl’s Man’s Search for Meaning. (shrink)

Adaptations have varied relations to their source material, making it hard to formulate a general theory. Avoiding the attempt, we characterize a narrower, more unified class of reflective adaptations which communicate an active and sometimes critical relation to the source's framework. We identify the features of reflective adaptations which give them their distinctive interest. We show how these features are embodied in Akira Kurosawa's Throne of Blood, an adaptation with a radically shifted perspective on the relation between character (...) and situation compared to its Shakespearean source. We identify some of the artistic choices through which this response to the source is conveyed, such choices being a characteristic feature of reflective adaptations. (shrink)

A close analysis of the specifically cinematographic procedure in Akira Kurosawa’s ‘Dream’ Crows reveals it as an articulated and insightful philosophical statement, endowed with general relevance conceming ‘natural’ perception, phenomenological Erlebnis, mechanical image and aesthetic rapture. The antagonism between the Benjarninian lineage of a mechanical irreducibility of the cinematic image to anthropocentric categories, and the Cartesian tradition of a film-philosophy still relying on the equally irreducible structure of the intentional act, be it the one of a deeply embodied (...) and enworlded counsciousness, in accounting for the essential structure of film and spectator (and their relation), i.e., the antagonism between the decentering primacy of the image and the self-centered primacy of perception, cannot be settled through a simple Phenomenological shift from occularcentric, intentional counsciousness to its embodyment ‘ in-the-world’ as yet another carrier of intentionality. Still it remains to be explained what is it in the mechanical image that is able to so deeply affect the human flesh, and conversely, to what features in the human bodily experience is its mechanical other, the fascinating image, so successfuly adressing? It should be expected from the anti-Cartesianism of both the early and the late Merleau- Ponty the textual support for an approach to the essential condition of passivity in movie watching, that would be convergent with Benjamin. The Chapter ‘Le sentir’, in Phénoménologie de la perception, will offer us the proper guide to elucidate what we are already perceiving and conceiving in Kurosawa’s film, where the ex-static phenomenological body of the aesthetical contemplator ‘ enters the frame’ like the Benjaminian surgeon enters the body and like the painter - and always already like our deepest levei of ‘sensing’, previously to any act of cousciousness - ‘just looses himself in the scene before him’. The Polichinello secret of cinema watching is nonetheless too evident to be seen, and that is where Phenomenological description and reduction are still required. (shrink)

In his doctoral dissertation, Harold Garfinkel critically examined Talcott Parsons' classical formulation of the problem of order referred to as the Hobbesian problem. Garfinkel's criticism can be summarized under the following three headings: (1) common sense rationality replaces scientific rationality; (2) the level of the premises of conduct replaces the level of de facto action; (3) congruence theory replaces the correspondence theory. The aim of this paper is to make some observations on the structure of the problem of order which (...) Garfinkel discovered through this criticism. I propose to call it the Rashomon problem after Akira Kurosawa's film Rashomon. Ethnomethodology can be regarded as an attempt to solve the Rashomon problem. (shrink)

The Rashomon effect – a phenomenon studied in the arts and social sciences – occurs when the same event is given contradictory interpretations by different individuals involved. The effect was named after Akira Kurosawa's 1950 film Rashomon, in which a murder is described in four contradictory ways by four witnesses. In the film, a samurai has been killed under mysterious circumstances. Four people give contradictory reports about the crime. In particular, the samurai's wife claims that she was sexually (...) abused by a bandit, fainted, and then awoke to find her husband dead; the bandit claims that he seduced the wife and challenged the samurai in a battle to victory or at least to an honorable death; the woodcutter (who may have been an onlooker) claims that he witnessed the rape and murder but was not involved; and the dead samurai's spirit claims that he committed suicide. The Rashomon effect is not only about constructing different versions of the world based on differences in perspective; it occurs when such differences appear together with the absence of evidence to assess any version of the truth, plus “the social pressure for closure on the question.” In this commentary, we describe the relevance of the Rashomon effect beyond the arts and social sciences, namely in the field of biology. We use examples from redox biology, which is full of contradictions, thus making it fertile ground on which to apply reasoning derived from the Rashomon effect. (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)

O argumento do filme Rashômon de Akira Kurosawa suscita de um modo provocatório o problema a que o presente artigo pretende dar uma resposta. Como é possível discernir, em relação a um facto histórico, o verdadeiro do falso? Existe um saber capaz de nos ajudar a regular e a orientar o nosso juízo nas experiências humanas? Mostra-se, com efeito, que tanto para Pascal como para Kierkegaard existe um saber específico que tem por objecto o mundo histórico; este saber (...) é a fé, a crença. Mas se para Pascal os conhecimentos de carácter histórico, desde que submetidos a verificação adequada, podem alcançar o mesmo grau de certeza do saber científico, e se Pascal, com base nesta convicção, utilizou as provas históricas para demonstrar a verdade do cristianismo, para Kierkegaard, por sua vez, nenhuma verificação pode tornar certo aquilo que é constitutivamente incerto. Com Lessing, de facto, Kierkegaard defende que "verdades históricas fortuitas" não podem jamais tornar-se uma prova para as "verdades eternas da razão". /// The argument of Akira Kurosawa's movie Rashômon raises the question to which the present article aims at giving an answer. How is it possible to discern, regarding an historical fact, the true from the false? Is there a knowledge that can help us to regulate and to orient our judgment within the realm of human experience? For Pascal and for Kierkegaard there exists a specific wisdom that has as object the historical world, and this knowledge is faith, belief. But if for Pascal historical knowledge, once it is subjected to adequate verification, can reach the same degree of certainty as scientific knowledge, and if Pascal, on the basis of this conviction, has used the historical proofs in order to demonstrate the truth of Christianity, for Kierkegaard, on the other hand, there is no verification possible that can make certain that that is constitutionally uncertain. With Lessing, in fact, Kierkegaard defends that "fortuitous historical truths" can never become proof for the "eternal truth of reason". (shrink)

_Explores the philosophical, literary, and psychoanalytic significance of film endings._ Editing has been called the language of cinema, and thus a film’s ending can be considered the final punctuation mark of this language, framing everything that came before and offering the key to both our interpretation and our enjoyment of a film. In _Cinematic Cuts_, scholars explore the philosophical, literary, and psychoanalytic significance of film endings, analyzing how film endings engage our fantasies of cheating death, finding true love, or determining (...) the meaning of life. They examine how endings offer various forms of enjoyment for the spectator, from the momentary fulfillment of desire in the happy ending to the pleasurable torment of an indeterminate ending. The contributors also consider how film endings open onto larger questions relating to endings in our time. They suggest how a film ending’s hidden counternarrative can be read as a political act, how our interpretation of a film ending parallels the end of a psychoanalytical session, how film endings reveal our anxieties and fears, and how cinema itself might end with the increasing intervention of digital technologies that reorient the spectator’s sense of temporality and closure. Films by Akira Kurosawa, Lars von Trier, Joon-Hwan Jang, Claire Denis, Christopher Nolan, Jane Campion, John Huston, and Spike Jonze, among others, are discussed. (shrink)

Deleuze, Japanese Cinema, and the Atom Bomb establishes the first ever sustained encounter between Gilles Deleuze’s Cinema books and post-war Japanese cinema, exploring how Japanese films responded to the atomic bombings of Hiroshima and Nagasaki. From the early days of occupation and political censorship to the social and cultural freedoms of the 1960s and beyond, the book examines how images of the nuclear event appear in post-war Japanese cinema. -/- Using Deleuze’s taxonony of cinema, each chapter begins by focusing upon (...) one or more of three key Deleuzian themes – image, history and thought – before going on to look at a selection of films from 1945 to the present day. These include movies by well-known directors Kurosawa Akira, Shindo Kaneto, Oshima Nagisa and Imamura Shohei; popular and cult classics – Godzilla (1954), Akira (1988) and Tetsuo (1989); contemporary genre flicks – Ring (1998), Dead or Alive (1999) and Casshern (2004); the avant-garde and rarely seen documentaries. A series of tables clarify the conceptual components deployed within the text; and each film is illustrated with a number of stills. (shrink)

This is the first book to bring West and East together in a broad investigation of contemporary bioethics. A distinguished international team of experts presents original research addressing issues that emerge from new medical technologies, address global challenges arising from social change, and set the agenda for the future.

In contemporary political philosophy, reflections on poverty demand careful treatment in the light of key ethical concepts—especially autonomy. While the negative effects of poverty on autonomy are acknowledged, the welfare dependency of the poor is seen as an autonomy-undermining factor, which I call the “autonomy–poverty dilemma.” This chapter discusses contemporary political theories about autonomy and poverty in terms of how they relate to this dilemma. The features and problems of three pertinent theories are addressed in such a way as to (...) resolve the autonomy–poverty dilemma. The first is luck egalitarianism, which weighs individual responsibility in defining just distributions, but may leave some of the incapacitated unattended in order not to annul their personal responsibility and may stigmatize those who are dependent (such as people with mental disabilities) who are not personally responsible. Such stigmatization is also a problem with relational egalitarianism, which bases egalitarian justice on the equal standing of individuals, in that the ideal of socially embedded autonomous agents could be degrading to the dependent. While the capability approach overcomes that problem by providing a powerful buttress for the dependent and allowing them to emerge from poverty, it runs the risk of a paternalistic, perfectionist idealism. In closing, this chapter proposes an alternative view, which I call the “radical pluralist view of egalitarian justice,” based on a consideration of the features and problems of these three key theories. (shrink)

This paper aims to specify the precise conditions under which an agent is responsible for inequalities. Admittedly, the careful examination of the conditions in question has been the main focus of contemporary egalitarianism. As a matter of fact, contemporary political philosophers take responsibility to be a core conception which in principle justifies inequalities. In particular, they tend to flesh out the conception of responsibility in terms of choice, in such a way that we should hold individuals responsible for chosen inequalities (...) but not for unchosen inequalities. This core idea is intuitively appealing because, on the one hand, alleviation of inequalities that people do not choose would thereby be encouraged, and on the other hand, it avoids an egalitarian ‘moral hazard’: the situation in which people need care nothing for the consequences (economic or otherwise) of their own choice. G. A. Cohen thus goes so far as to say that egalitarianism successfully incorporates “within it the most powerful idea in the arsenal of the anti-egalitarian right: the idea of choice and responsibility.”. (shrink)

Informed consent, decision-making styles and the role of patient-physician relationships are imperative aspects of clinical medicine worldwide. We present the case of a 74-year-old woman afflicted with advanced liver cancer whose attending physician, per request of the family, did not inform her of her true diagnosis. In our analysis, we explore the differences in informed-consent styles between patients who hold an "independent" and "interdependent" construal of the self and then highlight the possible implications maintained by this position in the context (...) of international clinical ethics. Finally, we discuss the need to reassess informed-consent styles suitable to the needs of each patient regardless of whether he or she resides in the United States or in Japan. (shrink)

The pervasive use of distributional semantic models or word embeddings for both cognitive modeling and practical application is because of their remarkable ability to represent the meanings of words. However, relatively little effort has been made to explore what types of information are encoded in distributional word vectors. Knowing the internal knowledge embedded in word vectors is important for cognitive modeling using distributional semantic models. Therefore, in this paper, we attempt to identify the knowledge encoded in word vectors by conducting (...) a computational experiment using Binder et al.'s (2016) featural conceptual representations based on neurobiologically motivated attributes. In an experiment, these conceptual vectors are predicted from text‐based word vectors using a neural network and linear transformation, and prediction performance is compared among various types of information. The analysis demonstrates that abstract information is generally predicted more accurately by word vectors than perceptual and spatiotemporal information, and specifically, the prediction accuracy of cognitive and social information is higher. Emotional information is also found to be successfully predicted for abstract words. These results indicate that language can be a major source of knowledge about abstract attributes, and they support the recent view that emphasizes the importance of language for abstract concepts. Furthermore, we show that word vectors can capture some types of perceptual and spatiotemporal information about concrete concepts and some relevant word categories. This suggests that language statistics can encode more perceptual knowledge than often expected. (shrink)