A collection of 17 important readings provide those unfamiliar with Cavell's work with an overview of its strategic purpose, its central themes, and its argumentative development. The readings are taken from every one of the major fields in which Cavell has been involved--aesthetics, philosophy of religion, philosophy of Wittgenstein, Austin, Emerson, literary criticism, film theory, and psychoanalysis. Brief editorial introductions to each piece are included. A previously unpublished essay on Wittgenstein serves as an epilogue. Annotation copyright by (...) Book News, Inc., Portland, OR. (shrink)

What is film? Why are movies important? Why do we care about them in the way we do? How do we think of the connections between the projected image and what it is actually an image of? Most movie-goers assume that they are entitled to make jugments and come to conclusions about the movies they see--to evaluate how "good" they are, or what they "mean." But what do they base, or what should they base, their judgments on? In this (...) thought-provoking new book, Stanley Cavell, a professor of philosophy and aesthetics at Harvard who has long taken a lively interest in movies, looks closely at these and other questions concerning America's most popular art and the perceptions we make of, by, and through it. His answers are surprising and important--not only to our understanding of film and of ourselves, but to our expectations of life and art. Mr. Cavell's explorations of some of Hollywood's stars, directors, and most famous films--as well as his fresh look at Godard, Bergman, and other great European directors--will be of lasting interest to movie-viewers and intelligent people of all ages. (shrink)

Stanley Cavell's writing on film has been an important inspiration for the recent 'philosophical turn' in film theory. But few studies have explored the significance of Cavell's style of writing, how it communicates his distinctive manner of thinking with film. This article explores Cavell's style as a way of doing philosophy, and suggests that his attempt to capture the aesthetic experience of film in evocative prose makes an important contribution to developing new ways of thinking (...) in film-philosophy. (shrink)

Cavell’s interest in aesthetic objects can be understood to be motivated by an interest in the nature of meaning and value. The idea is that perceptual objects considered as cultural artefacts under-determine the meaning and value attributed to them. The process involved in determining their meaning and value is essentially a creative one. Through his study of film, literature and music, Cavell could be said to indirectly address the axiomatic, or what is sometimes referred to as the bedrock, of (...) our value judgments. In being embedded within larger cultural commitments, such axioms are impenetrable to the traditional analytical approaches in Anglo-American philosophy. Cavell’s style of philosophy can be understood to have been pioneered to attempt to understand and clarify aspects of experience which elude traditional analytical methods. (shrink)

This book offers philosophy in the key of life.

In lieu of an abstract, here is a brief excerpt of the content:Stanley Cavell WHAT BECOMES OF THINGS ON FILM? And does this title express a genuine question? That is, does one accept the suggestion that there is a particular relation (or a particular system of relations, awaiting systematic study) that holds between things and their filmed projections, which is to say between the originals now absent from us (by screening) and the new originals now present to us (in (...) photogenesis)—a relation to be thought of as something's becoming something (say as a caterpillar becomes a butterfly, or as a prisoner becomes a count, or as an emotion becomes conscious, or as after a long night it becomes light)? The title is, at any rate, the working formulation I have given myself for the guiding question of this discussion. Of the many issues and many levels of issue raised by the papers I have been invited to comment upon, I have picked two moments at which work of my own about film has been referred to, wishing to contribute to a conversation in the territory of film study. The first moment is one in which I am quoted (or Heidegger and I jointly quoted) as saying that "The cinematic image accentuates the conspicuousness, obtrusiveness and obstinacy of things." I am sorry to have given such an impression. The background of what I said —in the course of giving some examples of how thinking about films and thinking about philosophy have drawn upon one another in my work— was this: early in Being and Time, Heidegger characterizes the specific way in which the phenomenon occurs, in his terms, of the "worldhood of the world announcing itself"; it is a phenomenon in which a particular mode of sight or awareness is brought into play. What brings this mode of sight into play is a disruption of what Heidegger calls the "work-world," a disruption of the matters of course running among our tools, and the occupations they extend, and the environment which supports these occupations. It is upon the disruption of such matters of course (of a tool, say by its breaking; or of someone's occupation, say because of an injury; or of some absence of material) that the mode of sight then brought forth discovers objects in what Heidegger 249 250Philosophy and Literature notes as their conspicuousness, their obtrusiveness, and their obstinacy. Now the foreground of what I said was this: it struck me that this perception or apprehension of the things of our world is part of the grain of silent film comedy; and, more particularly, that Buster Keaton is the silent comic figure whose extraordinary works and whose extraordinary gaze, perhaps the fundamental feature of his character, illuminate and are illuminated by the consequent concept of the worldhood of the world announcing itself. While I take even this bare broaching of this idea to formulate one possibility of cinematic images of the things of our world, it is no more to be expected that all cinematic images carry this force, than it is to be expected that all are in the service of Keaton's species of comedy; any more than the idea of such images exhausts what there is to say about Keaton, orabout Heidegger, or about any further relations between them. What the idea ought to do is to help us to see and say at once what it is Keaton permits us to laugh about and what concretely the nature is of the mode of sight from which Heidegger begins his analysis of Being-in-the-world. This laughter is not defined, for example, by a Bergsonian suggestion that the human being has become machine-like, or vice versa. Keaton is as flexible, as resourceful, as Ulysses, and his giant machines do exactly what they might be expected to do under their circumstances. We have here to do with something about the human capacity for sight, or for sensuous awareness generally, something wë might express as our condemnation to project, to inhabit, a world that goes essentially beyond the delivery of our senses. This seems to be the single point of agreement throughout the history of epistemology, at least throughout the modern history of the... (shrink)

This book is Stanley Cavell’s definitive expression on Emerson. Over the past thirty years, Cavell has demonstrated that he is the most emphatic and provocative philosophical critic of Emerson that America has yet known. The sustained effort of that labor is drawn together here for the first time into a single volume, which also contains two previously unpublished essays and an introduction by Cavell that reflects on this book and the history of its emergence. -/- Students and scholars working in (...) philosophy, literature, American studies, history, film studies, and political theory can now more easily access Cavell’s luminous and enduring work on Emerson. Such engagement should be further complemented by extensive indices and annotations. If we are still in doubt whether America has expressed itself philosophically, there is perhaps no better space for inquiry than reading Cavell reading Emerson. (shrink)

Stanley Cavell has been a brilliant, idiosyncratic, and controversial presence in American philosophy, literary criticism, and cultural studies for years. Even as he continues to produce new writing of a high standard -- an example of which is included in this collection -- his work has elicited responses from a new generation of writers in Europe and America. This collection showcases this new work, while illustrating the variety of Cavell's interests: in the "ordinary language" philosophy of Wittgenstein and (...) Austin, in film criticism and theory, in literature, psychoanalysis, and the American transcendentalism of Ralph Waldo Emerson and Henry David Thoreau. The collection also reprints Richard Rorty's early review of Cavell's magnum opus, The Claim of Reason (1979), and it concludes with Cavell's substantial set of responses to the essays, a highlight of which is his engagement with Rorty. (shrink)

In the first essay of this book, Stanley Cavell characterizes philosophy as a "willingness to think not about something other than what ordinary human beings think about, but rather to learn to think undistractedly about things that ordinary human beings cannot help thinking about, or anyway cannot help having occur to them, sometimes in fantasy, sometimes as a flash across a landscape." Fantasies of film and television and literature, flashes across the landscape of literary theory, philosophical discourse, and (...) French historiography give Cavell his starting points in these twelve essays. Here is philosophy in and out of "school," understood as a discipline in itself or thought through the works of Shakespeare, Molière, Kierkegaard, Thoreau, Brecht, Makavejev, Bergman, Hitchcock, Astaire, and Keaton. (shrink)

Other of my intellectual debts remain fully outstanding, that to Freud ’s work before all. A beholdenness to Sigmund Freud ’s intervention in Western culture is hardly something for concealment, but I have until now left my commitment to it fairly implicit. This has been not merely out of intellectual terror at Freud ’s achievement but in service of an idea and in compensation for a dissatisfaction I might formulate as follows: psychoanalytic interpretations of the arts in American culture have, (...) until quite recently, on the whole been content to permit the texts under analysis not to challenge the concepts of analysis being applied to them, and this seemed to me to do injustice both to psychoanalysis and to literature. My response was to make a virtue of this defect by trying, in my readings of film as well as of literature and of philosophy, to recapitulate what I understood by Freud ’s saying that he had been preceded in his insights by the creative writes of his tradition; that is, I tried to arrive at a sense for each text I encountered that psychoanalysis had become called for, as if called for in the history of knowledge, as if each psychoanalytic reading were charged with rediscovering the reality of psychoanalysis. This still does not seem to me an irrelevant ambition, but it is also no longer a sufficient response in our altered environment. Some of the most interesting and useful criticism and literary theory currently being produced is decisively psychoanalytic in inspiration, an alteration initiated for us most prominently by the past two or so decades of work in Paris and represented in this country by—to pick examples from which I have profited in recent months—Neil Hertz on the Dora case, Shoshana Felman on Henry James’ “The Turn of the Screw,” and Eve Kosofsky Sedgwick on homophobia in Our Mutual Friend.1 And now my problem has become that I am unsure whether I understand the constitution of the discourses in which this material is presented in relation to what I take philosophy to be, a constitution to which, such as it is, I am also committed. So some siting of this relation is no longer mine to postpone. 1. See Neil Hertz, “Dora’s Secrets, Freud ’s Techniques,” in In Dora’s Case: Freud — Hysteria —Feminism, ed. Charles Bernheimer and Claire Kahane, pp. 221-42; Shoshana Felman, “Turning the Screw of Interpretation,” Yale French Studies 55/56 : 94-207; and Eve Kosofsky Sedgwick, “Homophobia, Misogyny, and Capital: The Example of Our Mutual Friend,” Raritan 2 : 126-51. Stanley Cavell, professor of philosophy at Harvard University, is the author of many works, including Must We Mean What We Say?, The Senses of “Walden,” The Claim of Reason, and, most recently, Themes Out of School. He spent last spring at Hebrew University in Jerusalem as a fellow of the Institute for Advanced Studies. His most recent contributions to Critical Inquiry are “Politics as Opposed to What?” and “The Division of Talent”. (shrink)

Stanley Cavell, einer der originellsten und provokantesten Denker der amerikanischen Gegenwartsphilosophie, findet in den letzten Jahren immer größere internationale Aufmerksamkeit. Gemessen am Mainstream der analytischen Philosophie ist er ein recht atypischer Autor; er setzt sich nicht nur mit Wittgenstein, Austin und Kant, sondern auch mit Nietzsche, Heidegger und Derrida auseinander und diskutiert das Phantastische der Philosophie. Er interpretiert Dichter wie Shakespeare und Beckett, schreibt aber auch brillante Studien über Fotografie und Film. Die Überfülle der Themen und das Nebeneinanderbestehen werden (...) dem orthodoxen analytischen Philosopen ungewöhnlich, ja suspekt vorkommen..." (Davide Sparti) Der vorliegende Band bietet einen repräsentativen Querschnittdurch Stanley Cavells philosophische und kunsttheoretische Essays. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Stanley Cavell: Philosophy’s Recounting of the OrdinaryRoblin MeeksStanley Cavell: Philosophy’s Recounting of the Ordinary, by Stephen Mulhall; xxv & 351 pp. New York: Oxford University Press, 1994, $52.00.Despite what his book’s title might suggest, Stephen Mulhall’s thorough explication of Stanley Cavell’s philosophy is anything but ordinary. At the outset Mulhall makes it clear that he intends to address Cavell’s exceptional formidability, and sets himself “not (...) to attempt to do what can and must only be done by Cavell’s own prose, but to clear the space that is required for it to do so” (p. vii). He grapples with those peculiar factors that fortify Cavell’s work against many readers: a viscous style and the manifold directions in which that style has stretched. An extensive exegesis, Mulhall believes, will prepare the ground for thoughtful critiques long overdue.In order to disarm Cavell’s “unfashionable tone” (p. viii), Mulhall opens with a discussion of Cavell’s earlier and more traditional work in aesthetics. He carefully attends to the ways in which Cavell appropriated and practiced ordinary language philosophy as established by Wittgenstein and Austin, and in so doing he displays Cavell’s struggle with this methodological inheritance. Conceiving it as the “paradigmatically modern philosophy” (p. 73), Cavell believes that ordinary language creates a tension between philosophy’s present and its past inflections—an urgency he finds ubiquitous in modern Western culture, echoed in contemporary painting and music. For Cavell, philosophy is invariably both subject and object.The second part of the book informs and extends the first, addressing Cavell’s elemental motivation—skepticism. Mulhall shows that Cavell “sees the practices of ordinary language philosophy as everywhere set in opposition to [End Page 407] the skeptical impulse” (p. 186). In reply to each “specific outbreak of what seems to be a fundamental human desire to repudiate that which aligns speakers with one another and with the world they inhabit” (p. 186), Cavell argues that investigations into the criteria governing what we say when—this is the sense in which he “recounts the ordinary”—can reaffirm the alignments between speakers and their world.Mulhall devotes most of his remaining pages to subjects in which Cavell observes the meeting of ordinary language philosophy and the skeptical impulse: film, literary theory, psychoanalysis, and the writings of Shakespeare, Emerson, and Thoreau—subjects traditionally located outside the philosophical pale of settlement. Mulhall demonstrates how these things have in turn shaped Cavell’s own method. Where Wittgenstein, for example, adopted a dense but laconic approach in his investigations, Cavell has come to exercise a species of Emersonian perfectionism. His abundant prose is intended to revise and to expand upon itself, offering itself up for criticism.Mulhall himself, however, does not fully accept this invitation. Since he states in his introduction that he is interested primarily in opening up Cavell’s philosophy for genuine critical response, and since he presents the strongest possible case on its behalf, he is in an ideal position—indeed, no one is better positioned—to offer an exhaustive critique. And yet the criticism he eventually levels (Cavell’s reliance upon religious metaphor is undercut by a chronic distaste for Christianity) fails to persuade; it is inadequately developed. Mulhall wants to maintain the exegete’s distance even when Cavell’s writing beckons him into the more intimate role of critic.Mulhall is right that Cavell’s philosophical aim is “to create a set of texts, to establish and maintain a texture of prose, that can earn the title of philosophy from its readers” (p. xiv). But he insufficiently explores the degree to which the skeptical impulse fundamentally infects this overarching ambition with doubt. And so he under-appreciates Cavell’s vexation. For if ordinary language philosophy—in working through the ineluctable tension between modernity and history—cannot produce work capable of being called philosophy or itself fails to find an audience, what can? Such questions ultimately lead back to Cavell’s own prose, and it is to Mulhall’s credit that he has cleared the space for such a return.Roblin MeeksCity University of New YorkCopyright © 1995 The Johns Hopkins University Press... (shrink)

One quality of remarriage comedies is that, for all their ingratiating manners, and for all the ways in which they are among the most beloved of Hollywood films, a moral cloud remains at the end of each of them. And that moral cloud has to do with what is best about them. What is best are the conversations that go on in them, where conversation means of course talk, but means also an entire life of intimate exchange between the principal (...) pair. We are bound to remember from these films, even years after viewing them, something of their sound: of conversation between Cary Grant and Irene Dunne in The Awful Truth, or between Grant and Rosalind Russell in His Girl Friday, or Grant and Katharine in Bringing up Baby, or those two together with James Stewart in The Philadelphia Story, or between Hepburn and Spencer Tracy in Adam’s Rib. We feel that these people know one another, and they know how to play together in a way to make one happy and hope for the best. But the moral cloud has to do with what that conversation is meant to do, and what I say about those films is that the conversation is in service of the woman’s sense of herself as in need of an education. Importantly for that reason, I call her a descendent of Nora in Henrik Ibsen’s A Doll’s House, who in one of the most celebrated moments in modern theater, ends a play by closing a door behind her. She leaves the dollhouse saying to her husband that she requires an education and that he is not the man who can provide it for her. The implication is that since he is not this man, he cannot be her husband. And implying the contrary as well: if he were, then he would be, and their relationship would accordingly—“miracle of miracles”—constitute a marriage. Stanley Cavell is the Walter M. Cabot Professor of Aesthetics and the General Theory of Value at Harvard University. His most recent works include In Quest of the Ordinary: Lines of Skepticism and Romanticism , This New Yet Unapproachable America , and Conditions Handsome and Unhandsome. (shrink)

Can one conceive something to say about Allan Bloom’s view of America and the American university that he hasn’t already heard? Setting aside the perhaps undiscussable differences in what we each saw in our students of the 1960s, I find two regions in which Bloom’s experience and mine differ systematically that are specific and clear enough to be stated briefly, perhaps usefully: first, our experience of the position of philosophy in the intellectual economy we were presented with in the (...) two decades prior to the 1960s; second, our experience of the modern and the popular in the arts. My citing of these differences can only prove worthwhile, however, against a background of agreement I find with his work over the centrality of a cluster of issues, of which I specify five: a first agreement concerns the illustriousness of the university in the life of a democracy; a second concerns the irreplaceability of Great Books—what Thoreau calls scriptures—in a humanistic education; a third concerns the unaware imbibing of European thought by a chronically unprepared American constitution—a condition that is as live for us, or should be, as when Emerson was founding American thinking by demonstrating his knack of inheriting, by transfiguring, European philosophy; a fourth moment of agreement concerns the goal of a democratic university education as keeping open the idea of philosophy as a way of life, call it the life of the mind, a name for which might be Moral Perfectionism ; a fifth sense of my agreement with Bloom concerns the threat that a discourse about such issues, such as the prose fashioned in Bloom’s book , is becoming unintelligible to the culture that has produced it, and not alone to the young . Stanley Cavell is the Walter M. Cabot Professor of Aesthetics and the General Theory of Value at Harvard University. His most recent works include In Quest of the Ordinary: Lines of Skepticism and Romanticism and This New Yet Unapproachable America: Essays after Emerson after Wittgenstein. (shrink)

Makavejev's recurrence to the ideas of death and birth, in his critical remark about the opening of Persona and in his quoting of Bergman's statement "Each film is my last" , recalls the recurrence of the ideas of death and birth in Sweet Movie. The sound track opens with a song asking "Is there life after birth?" and the images end with a corpse coming to life; in between, the film is obsessed with images of attempts to be (...) born. The question about life after birth—posing the question whether we may hope for mortality as prior to the question whether we may hope for immortality—has the satisfying sound of one of Feuerbach's or the early Marx's twists that turn Christianity upside down into socialism. . . . It is the great concluding moments of Sweet Music, however, which bear direct comparison with the great opening moments of Persona. But even to describe those concluding sonorities relevantly requires a general idea of the film as a whole. Sweet Movie is, at a minimum, the most original exploration known to me of the endless relations between documentary and fictional film, incorporating both; hence in that way an original exploration of the endless relations between reality and fantasy. Its use of documentary footage declares that every movie has a documentary basis—at least in the camera's ineluctable interrogation of the natural endowment of the actors, the beings who submit their being to the work of film. My private title for Makavejev's construction of Sweet Movie and of Innocence Unprotected and WR: Mysteries of the Organism is "the film of excavation." I mean by this of course my sense of his work's digging to unearth buried layers of the psyche but also my sense that these constructions have the feeling of reconstruction—as of something lost or broken. The search at once traces their integrity of the individual strata of a history and plots the positions of adjacent strata. I accept as well the implied sense—something the experience of Makavejev's last three films conveys to me—that these constructions are inherently the working out of a group's genius, its interactions, not of one individual's plans; though it is true and definitive of Makavejev's work that a group's interactions, or those of shifting groups, work themselves out into comprehensible forms because a given individual is committed to seeing to it that they may. Stanley Cavell, professor of philosophy at Harvard University, is the author of Must We Mean What We Say?, The World Viewed, The Senses of Walden, and The Claim of Reason. Other contributions include ""A Reply to John Hollander"" and "North by Northwest". (shrink)

[Alfred Hitchcock's] film is called North by Northwest. I assume that nobody will swear from that fact alone that we have here an allusion to Hamlet's line that he is but mad north-northwest; even considering that Hamlet's line occurs as the players are about to enter and that North by Northwest is notable, even within the oeuvre of a director pervaded by images and thoughts of the theater and of theatricality, for its obsession with the idea of acting; and (...) considering that both the play and the film contain plays-within-the-play in both of which someone is killed, both being constructed to catch the conscience of the one for whose benefit they are put on. But there are plenty of further facts. The film opens with an ageless male identifying himself first of all as a son. He speaks of his efforts to keep the smell of liquor on his breath from the watchful nose of his mother, and he comes to the attention of his enemies because of an unresolved anxiety about getting a message to his mother, whereupon he is taken to a mansion in which his abductor has usurped another man's house and name and has, it turns out, cast his own sister as his wife. The abductor orders the son killed by forcing liquid into him. It is perhaps part of the picture that the usurper is eager to get to his dinner guests and that there is too much competitive or forced drinking of liquor. Nor, again, will anyone swear that it is significant that the abductor-usurper's henchmen are a pair of men with funny, if any, names and a single man who stands in a special relationship with the usurper and has a kind of sibling rivalry with the young woman that this son, our hero, will become attracted to and repelled by. These are shadowy matters, and it is too soon to speak of "allusions" or of any other very definite relation to a so-called source. But it seems clear to me that if one were convinced of Hamlet in the background of North by Northwest, say to the extent that one is convinced that Saxo Grammaticus' Danish History is in the background of Hamlet, then one would without a qualm take the name Leonard as a successor to the name Laertes.Stanley Cavell, professor of philosophy at Harvard University, is the author of Must We Mean What We Say?, The Senses of Walden, The World Viewed, The Claim of Reason, and Pursuits of Happiness. His previous contributions to Critical Inquiry are "On Makajev On Bergman" and "A Reply to John Hollander". (shrink)

"Tough, smart, superbly engaging, The Material Ghost is a terrific book." -- Edward W. Said In The Material Ghost , Gilberto Perez draws on his lifelong love of the movies as well as his work as a film scholar to write a lively, wide-ranging, penetrating study of films and filmmakers and the nature of the art form. For Perez, film is complex and richly contradictory, lifelike and dreamlike at once, a peculiar mix of reality and imagination. "The images (...) on the screen," he writes, "carry in them something of the world itself, something material, and yet something transposed, transformed into another world: the material ghost." "Dazzling... The sheer intelligence at work in these lucid pages is exhilarating." -- Alfred Guzzetti, Boston Book Review "A pleasure. Gilberto Perez is one of the smartest film critics writing anywhere." -- Jonathan Rosenbaum "Strikes an ideal balance between insightful analysis and graceful writing... A model of thoughtful criticism." -- David Sterritt, Christian Science Monitor "Brilliantly polemical in his critique of cynical reason ('the official philosophy of late capitalism'), no less passionate in defending the truth-value of cinema, Perez seems to be the clearest heir to the great humanist critic André Bazin." -- Sight & amp Sound "The chapters on Keaton and Renoir are stunning, full of perceptive remarks the chapter on Godard is a persuasive rehabilitation none of the chapters is without memorable insights." -- Michael Wood, London Review of Books "Gilberto Perez's ambitious, abundant, and cultivated book--the fruit of decades of thinking and teaching -- accompanies readers on a journey of discovery into the wonder of film." -- Stanley Cavell "Few books of film criticism in the past twenty-five years have been so enjoyable or instructive... [Perez] has excellent things to say about authorship, about documentaries, about popular genres, about cinematic point of view and narrative technique, about actors, and above all about camera style... He makes us want to look once more at the remarkable pictures he discusses." -- James Naremore, Cineaste. (shrink)

Stephen Mulhall presents the first full philosophical study of the work of Stanley Cavell. Cavell, a leading contemporary American thinker, is best known for his highly influential contributions to the fields of film studies, Shakespearian literary criticism, and the confluence of psychoanalysis and literary theory; Mulhall examines the broad spectrum of his thought, elucidating its essentially philosophical roots and trajectory.

Stephen Mulhall presents the first full philosophical study of the work of Stanley Cavell. Cavell, a leading contemporary American thinker, is best known for his highly influential contributions to the fields of film studies, Shakespearian literary criticism, and the confluence of psychoanalysis and literary theory; Mulhall examines the broad spectrum of his thought, elucidating its essentially philosophical roots and trajectory.

This book rethinks the discussion of sport as a cinematic subject. Arguing for the vitality of the sports film as distinctively 'modern' genre, the book looks at its innovative potential to capture twentieth- and twenty-first-century sport in all its complexity. Written in an accessible style and illustrated throughout, the book integrates work and ideas from film studies with thinking from sports psychology, philosophy, data theory and ecocriticism. In its detailed analyses of a wide-ranging group of films, the (...) book shows how film, from fictional works to biopics to experimental documentaries, can illuminate individual sporting experience, as well as sport's wider place in modern life. (shrink)

_Film Worlds_ unpacks the significance of the "worlds" that narrative films create, offering an innovative perspective on cinema as art. Drawing on aesthetics and the philosophy of art in both the continental and analytic traditions, as well as classical and contemporary film theory, it weaves together multiple strands of thought and analysis to provide new understandings of filmic representation, fictionality, expression, self-reflexivity, style, and the full range of cinema's affective and symbolic dimensions. Always more than "fictional worlds" and (...) "storyworlds" on account of cinema's perceptual, cognitive, and affective nature, film worlds are theorized as immersive and transformative artistic realities. As such, they are capable of fostering novel ways of seeing, feeling, and understanding experience. Engaging with the writings of Jean Mitry, Pier Paolo Pasolini, Christian Metz, David Bordwell, Gilles Deleuze, and Hans-Georg Gadamer, among other thinkers, _Film Worlds_ extends Nelson Goodman's analytic account of symbolic and artistic "worldmaking" to cinema, expands on French philosopher Mikel Dufrenne's phenomenology of aesthetic experience in relation to films and their worlds, and addresses the hermeneutic dimensions of cinematic art. It emphasizes what both celluloid and digital filmmaking and viewing share with the creation and experience of all art, while at the same time recognizing what is unique to the moving image in aesthetic terms. The resulting framework reconciles central aspects of realist and formalist/neo-formalist positions in film theory while also moving beyond them and seeks to open new avenues of exploration in film studies and the philosophy of film. (shrink)

The term “dividual” aims to present a critical view of the Western conception of persons and artworks as individuals. It is used in Euro-American anthropology in order to analyze the practical and ethical interferences between single persons and communities mainly in non-Western cultures. It is also used by Gilles Deleuze in Cinema 1. The Movement-Image in order to describe the aesthetic and self-affective character of films: since the filmic images cannot be temporarily fixed and individualized, he calls them “dividual”, much (...) like contemporary plurivocal musical compositions. He reads their articulations as transitions between temporarily varying semiotic combinations; thus, they are not “‘divisible or indivisible’, but ‘dividual.’”(14) Referring to this Deleuzian concept, I want to delve into different films under this aesthetic perspective, exposing their character of mutual allusions and formal adaptations: from a docufiction by Jean Rouch to feature films by Jean-Luc Godard, Med Hondo and Jean-Pierre Bekolo. These films dividuate themselves due to their aesthetic interferences and the curious observation that certain European film styles were “invented” in an African context. (shrink)

Presents an original, insightful, and compelling vision of the trajectory of Cavell's oeuvre, one that takes his kinship with Emerson as inextricably bound up with his ever-deepening thinking about movies.

This chapter contrasts the broadly empirical, pluralist, and construction device–oriented approaches to film study of analytic philosophy of film with the broadly socially hermeneutic, artistically and politically avant-gardist stances of Continental film theory. Analytic philosophy of film has tended to focus on classic Hollywood films and continuity editing, in order to explore the achievements of these films as art, while Continental film theory frequently finds such films to be regressive and technically uninteresting. I (...) explore in detail the work of such analytically oriented film scholars as Cavell, Danto, Walton, Carroll, Wilson, Bordwell, Plantinga, and Wartenberg, among others, against the background of this broad divergence in styles of work. I conclude by suggesting possibilities of rapprochement between these two styles, possibilities that embrace both the insights of analytic philosophers concerning specific devices and effects of film construction and the insights of Continental theorists concerning human subject formation and human social, political, and artistic interests. (shrink)

In 1969 Stanley Cavell's Must We Mean What We Say? revolutionized philosophy of ordinary language, aesthetics, ethics, tragedy, literature, music, art criticism, and modernism. This volume of new essays offers a multi-faceted exploration of Cavell's first and most important book, fifty years after its publication. The key subjects which animate Cavell's book are explored in detail: ordinary language, aesthetics, modernism, skepticism, forms of life, philosophy and literature, tragedy and the self, the questions of voice and audience, jazz and (...) sound, Wittgenstein, Austin, Beckett, Kierkegaard, Shakespeare. The essays make Cavell's complex style and sometimes difficult thought accessible to a new generation of students and scholars. They offer a way into Cavell's unique philosophical voice, conveying its seminal importance as an intellectual intervention in American thought and culture, and showing how its philosophical radicality remains of lasting significance for contemporary philosophy, American philosophy, literary studies, and cultural studies. (shrink)

Stanley Cavell's unique contributions to the study of epistemology, ethics, aesthetics, film, Shakespeare, and American philosophy have all received wide acclaim. But there has been relatively little recognition of the pertinence of Cavell's work to our understanding of political philosophy. The Claim to Community fills this gap with essays from a wide range of prominent American, English, French, and Italian philosophers and political theorists, as well as a lengthy response to the essays by Cavell himself. The topics (...) covered include Cavell's understanding of political community, philosophical anthropology, moral perfectionism, the positivist distinction between fact and value, political friendship, the differences between political and aesthetic disagreement, political romanticism, “the pursuit of happiness,” tragedy, and race. There are also evaluations of the ways Cavell's positions on these and other matters compare with those of Plato, Aristotle, Montaigne, Kant, John Stuart Mill, Thoreau, Nietzsche, Michel Foucault, Hannah Arendt, Carl Schmitt, Peter Winch, Wittgenstein, and Fred Astaire. This volume will be of great interest to political theorists and political philosophers, as well as to students of literature and film. (shrink)

Thinking on Screen: Film as Philosophy is an accessible and thought-provoking examination of the way films raise and explore complex philosophical ideas. Written in a clear and engaging style, Thomas Wartenberg examines films' ability to discuss, and even criticize ideas that have intrigued and puzzled philosophers over the centuries such as the nature of personhood, the basis of morality, and epistemological skepticism. Beginning with a demonstration of how specific forms of philosophical discourse are presented cinematically, Wartenberg moves on (...) to offer a systematic account of the ways in which specific films undertake the task of philosophy. Focusing on the films The Man Who Shot Liberty Valance, Modern Times, The Matrix, Eternal Sunshine of the Spotless Mind, The Third Man, The Flicker, and Empire, Wartenberg shows how these films express meaningful and pertinent philosophical ideas. This book is essential reading for students of philosophy with an interest in film, aesthetics, and film theory. It will also be of interest to film enthusiasts intrigued by the philosophical implications of film. (shrink)

Thinking on Screen: Film as Philosophy is an accessible and thought-provoking examination of the way films raise and explore complex philosophical ideas. Written in a clear and engaging style, Thomas Wartenberg examines films’ ability to discuss, and even criticize ideas that have intrigued and puzzled philosophers over the centuries such as the nature of personhood, the basis of morality, and epistemological skepticism. Beginning with a demonstration of how specific forms of philosophical discourse are presented cinematically, Wartenberg moves on (...) to offer a systematic account of the ways in which specific films undertake the task of philosophy. Focusing on the films The Man Who Shot Liberty Valance, Modern Times, The Matrix, Eternal Sunshine of the Spotless Mind, The Third Man, The Flicker , and Empire , Wartenberg shows how these films express meaningful and pertinent philosophical ideas. This book is essential reading for students of philosophy with an interest in film, aesthetics, and film theory. It will also be of interest to film enthusiasts intrigued by the philosophical implications of film. (shrink)

Stanley Cavell is a leading figure in American philosophy and one of the most exhilarating and wide-ranging intellectuals of our time. In this book Espen Hammer offers a lucid and thorough account of the development of Cavell's work, from his early writings on ordinary language philosophy and skepticism to his most recent contributions to film studies, literary theory, romanticism, ethics, and politics. The book traces the many lines of skepticism occurring in Cavell's work and shows how they (...) amount to a rich and subtle picture of human subjectivity. Hammer explores Cavell's passionate engagement with Austin and Wittgenstein's visions of language, and his uncovering of conceptions of the ordinary in Emerson and Thoreau. Central sections of the book are devoted to the tragic and the comic as these modes of existence come into play in Shakespeare and Hollywood cinematic drama. In elaborating Cavell's responses to thinkers such as Heidegger, Levinas, and Derrida, the author situates Cavell's writing within the wider context of contemporary continental philosophy. Hammer clearly reveals the existential dimensions of Cavell's thought. He argues that his variant of ordinary language philosophy is a vital stimulus to self-transformation in cognitive, aesthetic, ethical, and political domains, contributing significantly to a rethinking of issues such as responsibility and autonomy, and the relationship between philosophy and literature. A critical introduction to the thought of an inordinately complex writer, this book will be of great interest to students and scholars in philosophy, literary theory, cultural theory, comparative literature, and media and cultural studies. (shrink)

Contemporary Philosophy in Focus offers a series of introductory volumes on many of the dominant philosophical thinkers of the current age. Stanley Cavell has been one of the most creative and independent of contemporary philosophical voices. At the core of his thought is the view that skepticism is not a theoretical position to be refuted by philosophical theory but is a reflection of the fundamental limits of human knowledge of the self, of others and of the external world that (...) must be accepted. This volume is the first attempt systematically and accessibly to describe and assess the full range of Cavell's work. There are new accounts of Cavell's contribution to the philosophy of mind and language, the theory of action, ethics, aesthetics, Romanticism, American philosophy, Shakespeare, and film and opera. Outside philosophy the appeal of this volume will be unusually broad. (shrink)

_The Routledge Companion to Philosophy and Film_ is the first comprehensive volume to explore the main themes, topics, thinkers and issues in philosophy and film. The _Companion_ features sixty specially commissioned chapters from international scholars and is divided into four clear parts: • issues and concepts • authors and trends • genres • film as philosophy. Part one is a comprehensive section examining key concepts, including chapters on acting, censorship, character, depiction, ethics, genre, interpretation, narrative, (...) reception and spectatorship and style. Part two covers authors and scholars of film and significant theories Part three examines genres such as documentary, experimental cinema, horror, comedy and tragedy. Part four includes chapters on key directors such as Tarkovsky, Bergman and Terrence Malick and on particular films including _Memento_. Each chapter includes a section of annotated further reading and is cross-referenced to related entries. _The Routledge Companion to Philosophy and Film_ is essential reading for anyone interested in philosophy of film, aesthetics and film and cinema studies. (shrink)

Alongside Richard Rorty, Hilary Putnam and Jacques Derrida, Stanley Cavell is arguably one of the best-known philosophers in the world. In this state-of-the-art collection, Alice Crary explores the work of this original and interesting figure who has already been the subject of a number of books, conferences and Phd theses. A philosopher whose work encompasses a broad range of interests, such as Wittgenstein, scepticism in philosophy, the philosophy of art and film, Shakespeare, and philosophy of mind (...) and language, Cavell has also written much about Henry Thoreau and Ralph Waldo Emerson. Including contributions from Hilary Putnam, Cora Diamond, Jim Conant and Stephen Mulhall, this book is a must-have for libraries and students alike. (shrink)

This article explores the relation between cinema and philosophy through the lens of interest shown by some filmmakers in the lives and works of philosophers. It begins by delving into contemporary perspectives on the relationship between philosophy and cinema. In order to assess how the constitutive dissimilarity of the two terms and the ways in which they can be brought together are at the origin of speculative short circuits and experiences of wonder, it brings together the works of (...) thinkers – Cavell, Benjamin, and Kracauer; and filmmakers Rossellini, Montaldo, Keaton, and Jarman. Reflecting on the aesthetic and cultural impact of cinema is all the more important given the current omnipresence of images and prosthetic technologies that, with their incessant solicitations, threaten the processes of apprehension, learning, and conveying of knowledge. Thinking and perceiving differently thus becomes an essential function of cinema, one keenly performed in Safaa Fathy’s Derrida’s Elsewhere, analyzed in the last two sections. (shrink)

A collection of 17 important readings provide those unfamiliar with Cavell's work with an overview of its strategic purpose, its central themes, and its argumentative development. The readings are taken from every one of the major fields in which Cavell has been involved--aesthetics, philosophy of religion, philosophy of Wittgenstein, Austin, Emerson, literary criticism, film theory, and psychoanalysis. Brief editorial introductions to each piece are included. A previously unpublished essay on Wittgenstein serves as an epilogue. Annotation copyright by (...) Book News, Inc., Portland, OR. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Beardsley's AestheticsProblems in the Philosophy of CriticismDonald Crawford (bio)Monroe Beardsley's Aesthetics was published the year I was a junior philosophy major at the University of California, Berkeley, and by the end of that academic year, I had completed semester courses in the history of ancient as well as modern philosophy, logic, ethics, and the philosophy of religion. The requirements remaining for me in (...) philosophy in my senior year were a course in either epistemology or metaphysics, plus five elective philosophy courses. I had fairly developed interests in literature, especially poetry, classical music, film, and the visual arts, so it seemed natural for me to select a course in aesthetics as one of my remaining electives. Nonetheless, I had no idea what aesthetics was. When I looked up the word in the dictionary, I found the following definition: "The branch of philosophy dealing with beauty or the beautiful, especially in the fine arts." Even today, the Berkeley philosophy course catalog entry for aesthetics simply says, as it did then, "Aesthetics: Visual arts/literature and music. Form, expression, representation, style; interpretation and evaluation."Interpretation and evaluation sounded worth pursuing. At that time I had no doubt that almost any music by Bach was better than that by Offenbach, that Van Gogh's Starry Night was in a different class than Norman Rockwell's covers for the Saturday Evening Post, or that Bergman's The Seventh Seal (1957) was a far better film than Attack of the Crab Monsters of the same year. And I was fully convinced that some poems lent themselves to more interesting and profound readings—that is, interpretations—than others and therefore were better poems. So a course that dealt with the interpretation and evaluation of the visual arts, literature, and music was enticing. The class lectures were rather dull, however, and I began to have regrets for enrolling. Besides, the required text was brand new and had several drawbacks: there were no used copies available so it was expensive ($7.50!), and its 591 pages were bound in hardback and heavy. [End Page 19]Yes, the text was Beardsley's Aesthetics, and my now well-worn copy is complete with my original revealing and indelible underlines that remind me of my naiveté. I recall being immediately struck by the book's epigraph—a quotation from David Hume: "I am uneasy to think I approve of one object, and disapprove of another; call one thing beautiful, and another deform'd; decide concerning truth and falsehood, reason and folly, without knowing upon what principles I proceed." This encouraged me to think that this book and course would teach me the principles that underlay my unreasoned critical comparative evaluations of poems, films, and other works of art. Was this false optimism? After glancing at the table of contents, I quickly turned to chapter 10, "Critical Evaluation," where I read on page 454: "The problems to which we now come have been put off as long as possible in the hope that a circumspect approach would make them more vulnerable." I wasn't quite sure what that meant ("vulnerable" to what?), but it seemed to imply that it was necessary to start at the beginning of the book.1 So I did just that. To my delight, almost immediately, on page 3, Beardsley provided his definition of "aesthetics," saying: "[A]esthetics consists of those principles that are required for clarifying and confirming critical statements. It can be thought of, then, as the philosophy of criticism, or metacriticism" (3-4; emphasis in the original). Unless by "critical statement" Beardsley meant judgments of beauty, this didn't really correspond with either Webster's definition or the course description of aesthetics. Beardsley's concept of a critical statement was much broader than that in common use today, and it reflected the attitude of the founders of the American Society for Aesthetics, who named their journal the Journal of Aesthetics and Art Criticism (JAAC). Beardsley said he would be "using the term 'critical statement,' very broadly, to refer to any statement about a work of art" (3) and that a critical statement "need not be a value judgment at... (shrink)

Gilles Deleuze published two radical books on film: Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Engaging with a wide range of film styles, histories and theories, Deleuze's writings treat film as a new form of philosophy. This ciné-philosophy offers a startling new way of understanding the complexities of the moving image, its technical concerns and constraints as well as its psychological and political outcomes. Deleuze and Cinema presents a step-by-step guide to the key (...) concepts behind Deleuze's revolutionary theory of the cinema. Exploring ideas through key directors and genres, Deleuze's method is illustrated with examples drawn from American, British, continental European, Russian and Asian cinema. Deleuze and Cinema provides the first introductory guide to Deleuze's radical methodology for screen analysis. It will be invaluable for students and teachers of film theory, film history and film forms. (shrink)

Is genre film comparable to a thought experiment?Revising concepts of determinism and agency in three film noirs The philosophical approach of film genres, first popularized by authors like Stanley Cavell, allows to consider genre films as narrative variations as pertinent to philosophical discourse as can be a traditional thought experiment, since every question on the essence of a genre and every discussion related to its inner functions, its mechanisms and its themes, generate naturally a philosophical discourse on (...) the way a director uses filmic and narrative tools to transform his intentions into a specific system of meaning. This study adopts formalist and philosophical approaches to connect the narratives of the movies to the discourses it is prone to generate. The corpus draws on the ‘primitive scene' in three films noirs, Out of the Past, The Lady from Shanghai et Criss Cross : the tragic meeting of an anti-hero with the woman who will be responsible of his fall. Indeed, the sequence showing this first meeting becomes an exercise in style where forerunning signs of the two protagonists' fall organize the writing and the mise-en-scene, and explicitly shows how questions of agency and determinism are intimately articulated to the narrative and formal frame of the movies. (shrink)

In this article, I claim that film matters to political theory not because of the stories films recount, but because the medium of film offers political theorists an image of political thinking that emphasizes the stochastic serialization of actions. I thus argue that the stochastic serialization of moving images that films project makes available for democratic theory an experience of resistance and change as a felt discontinuity of succession, rather than as an inversion of hierarchical power. In my (...) treatment of these issues, I rely on Hume's ontology of ‘broken appearances’ and ‘interrupted perceptions’, as well as Stanley Cavell's ontology of film as treated in The World Viewed. I elaborate the following four aspects of the relation between film and political theory: the action-image; discontinuity and the fact of series; actors, artificial persons and human somethings; and political resistance and an aesthetics of politics. The manner in which I proceed is to show the aspectual overlay between film and political thinking. Such a method of exposition suggests a further, methodological site where film matters to political theory: the stochastic serialization of moving images in film provides political theory with a genre for elaborating ideas that is not reducible to the analytics of causal argument. (shrink)

Gilles Deleuze and belief in the world -- A struggle against oneself: cinema as technology of the self -- The evidence of film and the presence of the world: Jean-Luc Nancy's cineastic ontology -- Cinema as human art: rescuing aura in gesture -- Exhibiting or presenting?: politics, aesthetics and mysticism in Benjamin's and Deleuze's concepts of cinema -- Made and yet true: on the aesthetics of presence of the heroic -- An art of gesture: returning narrative and movement to (...) images -- It is if we could trust: fiction and aesthetics of the political -- All you need is love: Cavell and the comedy of remarriage of film and philosophy. (shrink)

The Language and Style of Film Criticism brings together original essays from an international range of academics and film critics highlighting the achievements, complexities and potential of film criticism. In recent years, in contrast to the theoretical, historical and cultural study of film, film criticism has been relatively marginalised, especially within the academy. This book highlights the distinctiveness of film criticism and addresses ways in which it can take a more central place within the (...) academy and develop in dynamic ways outside it. The Language and Style of Film Criticism is essential reading for academics, teachers, students and journalists who wish to understand and appreciate the language and style of film criticism. (shrink)

Film, Philosophy, and Reality: Ancient Greece to Godard is an original contribution to film-philosophy that shows how thinking about movies can lead us into a richer appreciation and understanding of both reality and the nature of human experience. Focused on the question of the relationship between how things seem to us and how they really are, it is at once an introduction to philosophy through film and an introduction to film through philosophy. (...) The book is divided into three parts. The first is an introduction to philosophy and film, designed for the reader with little background in one or the other subject. The second examines the philosophical importance of the distinction between appearance and reality, and shows that reflection upon this distinction is naturally provoked by the experience of watching movies. The final part takes a close and careful look at the style and techniques of Jean-Luc Godard's groundbreaking film Breathless in order to illustrate how such themes can be explored cinematically. The book addresses topics such as: Film: what it is and how to understand it The methods and concerns of philosophy The nature of cinematic appearances The history of metaphysics The relationship between cinema and life The philosophical relevance of film techniques. With a glossary of key thinkers, terms, and concepts, as well as sections on suggested films and further reading, this textbook will appeal to lecturers and students in undergraduate philosophy and film courses, and in courses focused on Philosophy of Film, Philosophy and Film, or Film-Philosophy. (shrink)

This article tracks the many appearances of Friedrich Nietzsche throughout the history of cinema. It asks how cinema can do Nietzschean philosophy in ways that are unique to the medium. It also asks why the cinematic medium might be so pertinent to Nietzschean philosophy. Adhering to the implicit premise that, as Jacques Derrida once put it, ‘there is no totality to Nietzsche's text, not even a fragmentary or aphoristic one,’ the essay's mode of argument avoids reductive totalization and (...) instead comprises a playful sampling of variously Nietzschean manifestations across dissimilar films. It begins with an extended account of Baby Face, a 1933 drama from which the abundant references to Nietzsche were either altered or expunged ahead of theatrical release. It then maps some of the philosophical consistencies across two genres in which characters read Nietzsche with apparent frequency: the comedy and the thriller. While comedies and thrillers both treat Nietzsche and his readers with suspicion, and do so for perceptive historical reasons, the essay then asks what an affirmatively Nietzschean film might look like. It explores this possibility through a discussion of cinematic animation in general and then more specifically via several critically familiar films that self-consciously evolve their aesthetic through Nietzsche's philosophy. The essay concludes by affirming Béla Tarr's final film as one of the medium's greatest realizations of a Nietzschean film-philosophy. The Turin Horse, released in 2011, is exemplary because it takes Nietzsche as a narrative premise only to sublate that premise into a unique visual style. (shrink)