When it was first published in French in 1980, The Ordinary Man of Cinema signaled a shift from the French film criticism of the 1960s to a new breed of film philosophy that disregarded the semiotics and post-structuralism of the preceding decades. Schefer describes the schizophrenic subjectivity the cinema offers us: the film as a work projected without memory, viewed by (and thereby lived by) a subject scarred and shaped by memory. The Ordinary Man of Cinema delineates the phenomenology of (...) movie-going and the fleeting, impalpable zone in which an individuals personal memory confronts the cinemas ideological images to create a new way of thinking. It is also a book replete with mummies and vampires, tyrants and prostitutes, murderers and freaksfigures that are fundamental to Schefers conception of the cinema, because the worlds that cinema traverses (our worlds, interior and exterior) are worlds of pain, unconscious desire, decay, repressed violence, and the endless mystery of the body. Fear and pleasure breed monsters, and such are what Schefers emblematic "ordinary man" seeks and encounters when engaging in the disordering of the ordinary that the movie theater offers him. Among other things, Schefer considers "The Gods" in 31 brief essays on film stills and "The Criminal Life" with reflections on spectatorship and autobiography. While Schefers book has long been standard reading in French film scholarship, until now it has been something of a missing link to the field (and more broadly, French theory) in English. It is one of the building blocks of more widely known and read translations of Gilles Deleuze (who cited this book as an influence on his own cinema books) and Jacques Rancière. (shrink)

Książka Piotra Skrzypczaka jest bez wątpienia najpoważniejszą pracą poświęconą aktorstwu filmowemu, jaka do tej pory powstała w Polsce, i jak na taką skalę książką jedyną. Cóż bowiem opisywać: aktora, artystę, gwiazdę, człowieka uwikłanego w przemysł kinematograficzny, role itd.? Potencjalna wielość wyborów stanowi w gruncie rzeczy kłopot metodologiczny. Przyjęcie przez autora konstruktu teoretycznego, jakim jest fundamentalna dla książki kategoria „postaci ekranowej", i konsekwentne stosowanie go we wszystkich rozdziałach pozwala zachować dyscyplinę dyskursu. Piotr Zmerzchowski Autor pedantycznie i cierpliwie rozświetla i rozsupłuje sekrety (...) i paradoksy alchemicznej transformacji aktora w bohatera filmowego. Za pomocą instrumentarium antropologii, semiotyki i kognitywizmu metodycznie opisuje procesy aktorskiej kreacji, skrupulatnie precyzując pojęciowe statusy kondycji aktora, roli i postaci ekranowej. Tadeusz Szczepański. (shrink)

Develops a program for undertaking figural analysis of narrative film by drawing on the work of three philosophers: Walter Benjamin, Jacques Lacan and Gilles Deleuze.

Emotions play at least three key roles in cinema. First, many motion pictures present highly emotional situations, involving characters who fall in love, who endure unbearable loss, and who become hell-bent on revenge. To make sense of movies, we must identify the emotions that drive their characters. Second, motion pictures seem to arouse emotions. We go to tearjerkers that make us cry, splatter films that make us writhe, and action films that keep us at (...) the edges of our seats. Third, these emotional experiences are, ostensibly, part of cinema’s allure; we value movies that evoke strong feelings. One might summarize these three observations by saying that movie-going involves emotion attribution, arousal, and motivation. Each of these has been a domain of philosophical contestation. How are emotions attributed when experiencing a cinematic fiction? Are genuine emotions really aroused? And do emotional experiences really bring us to the box office? This discussion explores controversies along these three dimensions. (shrink)

During the last three decades, Europe has undergone numerous periods of economic and political instability. The process of European integration, once hailed as a beacon of a peaceful co-operation between many, if not all, European nations appears to be stagnating, giving rise to notoriously more frequent manifestations of xenophobic violence, nationalism and right-wing fundamentalism. This book evaluates the portrayal of the migrant Other in selected examples of contemporary French and German cinema from the period 1989-2020 in the context of the (...) ongoing debate about European identity and its socio-political significance. It focuses on the films of some of Europe's most prolific contemporary filmmakers, such as Michael Haneke, Claire Denis and Fatih Akin. It examines cinema's importance not only in reference to various theoretical evaluations of the concept of European identity, but also many notable events that have taken place in Europe in the last thirty years, such as the collapse of the 'Iron Curtain' in 1989, the historical expansion of the European Union in 2004, the migration 'crisis' of 2015, 'Brexit' and the war in Ukraine. (shrink)

Hyperlink cinema is an emergent film genre that seeks to push the boundaries of the medium in order to mirror contemporary life in the globalized community. Films in the genre thus create an interacting network across space and time in such a way as to suggest that people’s lives can intersect on scales that would not have been possible without modern technologies of travel and communication. This allows us to test the hypothesis that new kinds of media might permit us (...) to break through the natural cognitive constraints that limit the number and quality of social relationships we can manage in the conventional face-to-face world. We used network analysis to test this hypothesis with data from 12 hyperlink films, using 10 motion pictures from a more conventional film genre as a control. We found few differences between hyperlink cinema films and the control genre, and few differences between hyperlink cinema films and either the real world or classical drama (e.g., Shakespeare’s plays). Conversation group size seems to be especially resilient to alteration. It seems that, despite many efficiency advantages, modern media are unable to circumvent the constraints imposed by our evolved psychology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 17-29 [Access article in PDF] Intersections Form, Feeling, and Isomorphism Mary J. Reichling University of Louisiana at Lafayette These three concepts hold meanings that differ among musicians and aestheticians. In this essay I shall explore them in the writings of Susanne Langer. Contemporary musicians and aestheticians continue today to engage Langer albeit some favorably and others with disdain. Whatever their reasons, she (...) remains a dominant force in the philosophy of music.1 My purpose is not to defend her against her detractors, but rather to examine and to elucidate various aspects of these three concepts in her writing, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education.First, I consider the broad and complex notion of form and the various ways Langer employs it in her aesthetic theory. Next, the rather all-encompassing idea of feeling as Langer conceives it is studied in relation to the form of the musical work. The intersection of form and feeling in the concept of isomorphism concludes the discussion. [End Page 17] Form In her various writings Langer uses several adjectives associated with the word "form" which seem to organize well into three groups. The first concerns the dynamic, living, organic, and vital qualities of form; the second speaks to its logical and abstract nature; and the last relates to the emotional or feeling aspect of form including expressive and significant characteristics.2 These groupings overlap and intertwine, but focusing on each specifically rather than all as a totality offers important insights.Form as dynamic, living, organic, and vital suggests metaphorical reference. Obviously the form is not physically, biologically, alive; reference is to the apparent movement, growth, and aliveness of the musical form as it is heard or performed. Thus this idea of form implies an actual performance to be realized or perceived. Langer is sometimes criticized for giving little attention to the actual making of music, that is, performance, yet her theory assumes music as heard. Essential to perceiving a dynamic form or hearing a feeling is a processual event, namely, performance or listening to a performance. Rarely a professional musician or gifted amateur might be able to engage this concept of form by reading through a score and hearing the music in imagination.Dynamic form parallels Eduard Hanslick's notion of tonend bewegte Formen. One might object that Hanslick and Langer are in conflict as Hanslick opposes while Langer supports the conviction that form is expressive of feeling, but that is moving beyond the matter at hand and suggests a superficial reading of both Hanslick and Langer. Hanslick asserts emphatically that music's meaning is not the arousal of emotion but does not deny feeling in music; Langer holds the same view. But Hanslick allows that "the words content and form are used not in the purely logical, but in an artistic sense." To me this suggests that he recognizes a nonliteral or metaphorical interpretation. He writes about the relationship of musical tones as "fraught with significance... congruity and opposition, their separating and combining, their soaring and subsiding-this is what comes in spontaneous forms before our inner contemplation and pleases us as beautiful." Certainly this parallels Langer's description of dynamic form.3 What is significant is that both philosophers are addressing the fluid, processual, active, movement-of-notes-through-time nature of musical form.The premise that forms are created by motion, are dynamic, is easily grasped by offering some examples. Fast cameras are able to take a series of photos of the movements of a pianist's hands giving still pictures of the moving forms created while performing a given passage.4 Alternately, forms are created by the movements of clouds or fog through the mist and early light; they are, in effect, quite literally moving forms. Cartoon characters generate moving forms through the [End Page 18] use of many drawings or more recently by means of computer animation. Time is a dynamic or moving form which we divide into hours... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism, Homoeroticism, and Christian Guilt in The Picture of Dorian GrayJoseph CarrollSince the advent of the poststructuralist revolution some thirty years ago, interpretive literary criticism has suppressed two concepts that had informed virtually all previous literary thinking: (1) the idea of the author as an individual person and an originating source for literary meaning, and (2) the idea of "human nature" as the represented subject and common frame of (...) reference for literary depictions. Under the tutelage of Barthes, Derrida, and Foucault, literary critics learned to speak of authors, characters, settings, and plots not as individuals situated in a natural world but as discursive formations constituted by the circulation of linguistic, cultural, and ideological energies. In the three decades during which poststructuralism has dominated academic literary study, a different kind of revolution—evolutionary, Darwinian, and naturalistic—has been transforming the social sciences. Sociobiology, evolutionary psychology, Darwinian anthropology, behavioral ecology, cognitive archaeology, and behavioral genetics do not all agree with one another in every respect, but they are all nonetheless aspects or phases of a common research program. The central working hypothesis in this program is that the human species, like all other species, has evolved in an adaptive relation to its environment and that as a consequence it has a distinct, genetically transmitted, species-typical set of characteristics—anatomical, physiological, hormonal, neurological, and behavioral. That set of characteristics is what in common language is meant by "human nature." Literature has always given us subjectively evocative depictions of human nature, and Darwinian social science is now giving us a more comprehensive and scientifically precise account of it. The sense of [End Page 286] individual agency is one crucial aspect of human nature, and that aspect is now being explored in complementary ways by personality psychology and by cognitive neuroscience.1Over the past decade or so, a scattered handful of literary scholars has broken away from the dominant poststructuralist paradigm and has sought to make use of the new scientific information on human nature.2 The simplest and most obvious way to use this information is to examine the behavior depicted in literary texts and to correlate that behavior with "human universals," that is, with forms of behavior that appear in every known culture and that thus appear to be embedded in the nature of the species. Seeking depictions of universals has produced valuable results for literary study, but this first move in Darwinian criticism does not exhaust the range of possibility in the analysis of literary meaning. Human nature is complex and sometimes divided against itself; individuals vary, and some variations depart from species-typical patterns, even in the most adaptively crucial aspects of survival and reproduction. Moreover, literary meaning involves more than the represented subject matter. Authors imbue texts with meanings and affects peculiar to themselves; authors engage in communicative transactions with audiences; and texts have formal and aesthetic properties that are not reducible to represented subject matter. All of these aspects of the total literary situation are part of literary meaning, and all of them can and should fall within the range of analysis available to Darwinian literary study.3Oscar Wilde's The Picture of Dorian Gray offers two special challenges to Darwinian criticism. First, the novel is saturated with homoerotic sexual feeling, and it thus defies any simple reading in terms of behavior oriented to reproductive success. Second, the central conflicts in the novel involve two competing visions of human nature, and in their conceptual structure neither of those visions corresponds very closely to the quasi-Darwinian conceptual structure implicit in most realist and naturalist fiction. One vision derives from the aestheticist doctrines of Walter Pater, and the other from a traditional Christian conception of the soul. Pater's ideas about human motives and the human moral character are at variance both with Christianity and with Darwinism. Christianity and Darwinism share certain concepts of the human moral and social character, but they couch those concepts in different idioms, and they would invoke wholly different causal explanations for how human nature came to be the way it is. Wilde does not develop his themes in Darwinian terms, but the novel can still be read [End Page... (shrink)

Distinctions in fundamentality between different levels of description are central to the viability of contemporary decoherence-based Everettian quantum mechanics (EQM). This approach to quantum theory characteristically combines a determinate fundamental reality (one universal wave function) with an indeterminate emergent reality (multiple decoherent worlds). In this chapter I explore how the Everettian appeal to fundamentality and emergence can be understood within existing metaphysical frameworks, identify grounding and concept fundamentality as promising theoretical tools, and use them to characterize a system of explanatory (...) levels (with associated laws of nature) for EQM. This Everettian level structure encompasses and extends the ‘classical’ levels structure. The ‘classical’ levels of physics, chemistry, biology, etc. are recovered, but they are emergent in character and potentially variable across Everett worlds. EQM invokes an additional fundamental level, not present in the classical levels picture, and a novel potential role for self-location in interlevel metaphysics. When given a modal realist interpretation, EQM also makes trouble for supervenience-based approaches to levels. (shrink)

In this book, Richard Dien Winfield builds upon Hegel’s Aesthetics to provide a comprehensive and systematic analysis of the individual fine arts, which remedies Hegel's inconsistencies and major omissions. In addition to conceiving the general aesthetics and particular stylistic forms of architecture, sculpture, painting, music, and literature, Winfield determines the fundamental character of the new arts of photography and cinema that the master thinkers of aesthetics never had the opportunity to consider. Winfield’s analysis covers a wide-ranging array of artistic creations (...) from diverse periods and cultures, while engaging in debate with the most important aesthetic theorists of the past and present. (shrink)

Providing an alternative to pyschoanalytically based descriptions, this major study presents a unique, new theoretical account of the way emotions and thought patterns interact in creating aesthetic effects in films. Using diverse examples, Torben Grodal shows how films activate effects in the viewer and how these effects are moulded by genres which determine the way in which characters will react in given situations.

In this rich cultural history, Pamela Robertson Wojcik examines America's ambivalent and shifting attitude toward homelessness through a close study of film cycles from five distinct historical moments that show characters as unhomed and placeless, mobile rather than fixed: failing, resisting, or opting out of the mandate for a home of one's own. From the tramp films of the Silent Era to the Oscar-winning Nomadland in 2021, Wojcik shows how film cycles reveal a tension in the American imaginary between (...) viewing homelessness as, on the one hand, deviant or threatening, and, on the other, emblematic of freedom and independence. Blending social history with insights drawn from a complex array of films, both canonical and fringe, Wojcik effectively 'unhomes' dominant narratives that cast aspirations for success and social mobility as the focus of American cinema, reminding us that genres of precarity have been central to the American cinema (and American story) all along. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:'Is* and Ought' in Context: Maclntyre's Mistake1 Murray MacBeth (1)What drives Hume to the conclusion that morality must be understood in terms of, explained and justified by reference to, the place of the passions and desires in human life is his initial assumption that either morality is the work of reason or it is the work of the passions and his own apparently conclusive arguments that it cannot be (...) the work ofreason. (2)At the same time as they [Diderot, Hume, Kierkegaard and Kant] agree largely on the character of morality, they agree also upon what a rationaljustification ofmorality would have to be. Its key premises would characterise some feature or features of human nature; and the rules of morality would then be explained and justified as being those rules which a being possessing just such a nature could be expected to accept. (3)[Hume] treats this ground for the justification of the rules of property and this explanation ofthem as holding for all times andplaces, prosperous as well as unprosperous, ever since the rules were first artificially contrived. (4)It isjust suchreasoning which Hume advanced both to explain and to justify the rules ofjustice, conceived as he conceived them, and the obligations imposed by those rules, understood as he understood them. One characteristic common to these four quotations from Alasdair Maclntyre's influential books After Virtue and Whose Justice? Which Rationality? is a yoking which is neither explained nor justified in the surrounding context, of the concepts of explanation and justification. Hume is said to be concerned both to explain and to justify (1) "morality," (2) "the rules of morality," (3) "the rules of property," and (4) "the rules ofjustice," and it seems that in each case he used the same argument to do both. My aim in this paper is to argue that Maclntyre altogether fails to dojustice to the distinctionbetweenjustification and Volume XVII Number 2 41 MURRAY MACBETH explanation, a distinction which is of the utmost importance for the interpretation ofHume—and notjust ofHume's moral philosophy. I take as my target, however, not either ofthe books from which I drew my opening quotations, but a much earlier article ofMaclntyre's, "Hume on 'Is' and 'Ought'," in which the ideas expressed in the above quotations are foreshadowed. An examination ofaspects ofthis article will enable me to show, if I am right, how Maclntyre goes startlingly astray. That 1959 article set in motion a lively discussion of the interpretation of Hume: no less than six articles, by Atkinson, Flew, Hudson, and Hunter, all contributions to the debate sparked off by Maclntyre, are reprinted in either or both of Chappell (1968) and Hudson (1969).6 I am in broad agreement with the criticisms made of his article by Atkinson and Flew; but I think it instructive to identify, as they failed to do, Maclntyre's fundamental mistake, which, I shall argue at the end ofthis paper, resulted from the very kind ofconfusion against which Hume warned his readers, and warned them in precisely that passage with which Maclntyre was primarily concerned, the famous paragraph about "is" and "ought" at the end of the opening section of book 3 of Hume's Treatise. My identification of Maclntyre's mistake involves putting that "is"-"ought" paragraph in context: in both, ambitiously on my part, the broad context of the Treatise as a whole, and also the more immediate context of the opening sections of book 3. Maclntyre wrote his article less as a contribution to an ongoing discussion of Hume than as a contribution to an ongoing discussion of ethical naturalism. Mid-twentieth century anti-naturalists, as Maclntyre pointed out, often invoked the "is"-"ought" paragraph as putting forward a view which was direct a ancestor oftheir own. Hare, for instance, appeals in his article "Universalisability" to what he calls "Hume's Law,"7 with a footnote referring the reader to this paragraph of the Treatise; the "law" in question is, roughly, that "ought"-judgements cannot be deduced from "is"-judgements. Maclntyre argued that such an interpretation of Hume was mistaken; and a crucial part ofhis evidence was the claim that, "ifthe currentinterpretation ofHume'sviews on "is'and'ought... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:'Is* and Ought' in Context: Maclntyre's Mistake1 Murray MacBeth (1)What drives Hume to the conclusion that morality must be understood in terms of, explained and justified by reference to, the place of the passions and desires in human life is his initial assumption that either morality is the work of reason or it is the work of the passions and his own apparently conclusive arguments that it cannot be (...) the work ofreason. (2)At the same time as they [Diderot, Hume, Kierkegaard and Kant] agree largely on the character of morality, they agree also upon what a rationaljustification ofmorality would have to be. Its key premises would characterise some feature or features of human nature; and the rules of morality would then be explained and justified as being those rules which a being possessing just such a nature could be expected to accept. (3)[Hume] treats this ground for the justification of the rules of property and this explanation ofthem as holding for all times andplaces, prosperous as well as unprosperous, ever since the rules were first artificially contrived. (4)It isjust suchreasoning which Hume advanced both to explain and to justify the rules ofjustice, conceived as he conceived them, and the obligations imposed by those rules, understood as he understood them. One characteristic common to these four quotations from Alasdair Maclntyre's influential books After Virtue and Whose Justice? Which Rationality? is a yoking which is neither explained nor justified in the surrounding context, of the concepts of explanation and justification. Hume is said to be concerned both to explain and to justify (1) "morality," (2) "the rules of morality," (3) "the rules of property," and (4) "the rules ofjustice," and it seems that in each case he used the same argument to do both. My aim in this paper is to argue that Maclntyre altogether fails to dojustice to the distinctionbetweenjustification and Volume XVII Number 2 41 MURRAY MACBETH explanation, a distinction which is of the utmost importance for the interpretation ofHume—and notjust ofHume's moral philosophy. I take as my target, however, not either ofthe books from which I drew my opening quotations, but a much earlier article ofMaclntyre's, "Hume on 'Is' and 'Ought'," in which the ideas expressed in the above quotations are foreshadowed. An examination ofaspects ofthis article will enable me to show, if I am right, how Maclntyre goes startlingly astray. That 1959 article set in motion a lively discussion of the interpretation of Hume: no less than six articles, by Atkinson, Flew, Hudson, and Hunter, all contributions to the debate sparked off by Maclntyre, are reprinted in either or both of Chappell (1968) and Hudson (1969).6 I am in broad agreement with the criticisms made of his article by Atkinson and Flew; but I think it instructive to identify, as they failed to do, Maclntyre's fundamental mistake, which, I shall argue at the end ofthis paper, resulted from the very kind ofconfusion against which Hume warned his readers, and warned them in precisely that passage with which Maclntyre was primarily concerned, the famous paragraph about "is" and "ought" at the end of the opening section of book 3 of Hume's Treatise. My identification of Maclntyre's mistake involves putting that "is"-"ought" paragraph in context: in both, ambitiously on my part, the broad context of the Treatise as a whole, and also the more immediate context of the opening sections of book 3. Maclntyre wrote his article less as a contribution to an ongoing discussion of Hume than as a contribution to an ongoing discussion of ethical naturalism. Mid-twentieth century anti-naturalists, as Maclntyre pointed out, often invoked the "is"-"ought" paragraph as putting forward a view which was direct a ancestor oftheir own. Hare, for instance, appeals in his article "Universalisability" to what he calls "Hume's Law,"7 with a footnote referring the reader to this paragraph of the Treatise; the "law" in question is, roughly, that "ought"-judgements cannot be deduced from "is"-judgements. Maclntyre argued that such an interpretation of Hume was mistaken; and a crucial part ofhis evidence was the claim that, "ifthe currentinterpretation ofHume'sviews on "is'and'ought... (shrink)

Journal of Human Values, Volume 28, Issue 2, Page 103-114, May 2022. Several feminists have been arguing on the superiority of women over men. This debate, instead of being biological, revolves around the gender roles and moral characteristics of humans, based on which women have been regarded better than men. The current study supported this claim by involving 620 participants, including men and women. Character Strengths Rating Form was used to obtain data. Women projected significantly higher levels on a (...) variety of character strengths as compared to men. The results revealed that women had significantly higher levels of wisdom, justice, curiosity, love of learning, social intelligence, leadership and appreciation of beauty and excellence. The overall picture confirmed women to be more virtuous than men. (shrink)

Journal of Human Values, Volume 28, Issue 2, Page 103-114, May 2022. Several feminists have been arguing on the superiority of women over men. This debate, instead of being biological, revolves around the gender roles and moral characteristics of humans, based on which women have been regarded better than men. The current study supported this claim by involving 620 participants, including men and women. Character Strengths Rating Form was used to obtain data. Women projected significantly higher levels on a (...) variety of character strengths as compared to men. The results revealed that women had significantly higher levels of wisdom, justice, curiosity, love of learning, social intelligence, leadership and appreciation of beauty and excellence. The overall picture confirmed women to be more virtuous than men. (shrink)

Both Heraclitus and Democritus, as the philosophers of historia peri phuseôs, consider nature and human character, habit, law and soul as interrelated emphasizing the links between phusis, kinesis, ethos, logos, kresis, nomos and daimon. On the one hand, Heraclitus’s principle of change (panta rhei) and his emphasis on the element of fire and cosmic motion ultimately dominate his ethics reinforcing his ideas of change, moderation, balance and justice, on the other, Democritus’s atomist description of phusis and motion underlies (...) his principle of moderation and his ideas of health and measured life. In this series, particularly referring to the main principles of motion, moderation and justice, I attempt to describe a coherent pre-Socratic ethical perspective based on the Heraclitean and Democritean fragments. I explore the connections between their physics and ethics also borrowing from Nietzsche’s lectures and writings on the Pre-Socratics. I redefine such Heraclitean and Democritean concepts as harmony, order, perfection, health, self-control, contentment, cheerfulness, concord, sound judgment, wisdom, measure and balance and discuss them under the principles of motion (phusis), moderation (sophrosyne) and justice. In doing so, I also expose the relevance of the Heraclitean notion of logos (interpreting it as the underlying categorical principle of transition between phusis and ethos) in bringing together these ideas and principles. Finally, based on this pre-Socratic Weltanschauung, I assess the possibility of a coherent picture of humanity, its nature and conduct as extending from or fitting into or extending-from-when-fitting-into the cosmos of moving forces and atoms. (shrink)

Norbert Elias’s project in The process of civilization involved reconstructing invisible movement—both the slow tempoof long-term historical change and the modification of psychic structures and embodied dispositions. To do this, he resorted to uncommon devices: treating historical texts as constituting a series amenable to a rudimentary discourse analysis, he constructed an imagined ‘curve of civilization’ serving as an approximation of the hidden process of change. Elias’s curve was not supposed to represent single past states, but movement itself, its direction and (...) pace. This novel concept of historical representation was related to the perception of cinema as a new medium making actual movement visible. But beyond making it possible to imagine how one could telescope long-term historical process, cinema also held the promise of serving as a microscope, making the minute movements of the human body, gestures and manners available for close inspection. While anthropologists were devising ways of using the new medium to document fleeting gestures and bodily postures, it was used by popular audiences as a source for remodelling behaviour and acquiring polite manners and body techniques, as noticed by such acute observers as Marcel Mauss and Joseph Roth. Hence, popular appropriation of the cinema gave rise to a heightened awareness of the historicity of gestures and the changing modalities of their transmission. Cinema was itself part of the accelerated motion of history, of a perceived change of pace in the process of civilization, which in its turn shed light on its historical antecedents and played an essential role in rethinking the notion of civilization and culture.Keywords: Norbert Elias; Marcel Mauss; Joseph Roth; Cinema; Gestures; Body; Discourse; Historiography; Sociology of culture. (shrink)

Much effort has been invested by scholars in defining the specific character of the Homeric values as against those that obtained at later periods of Greek history. The distinction between the ‘shame-culture’ and the ‘guilt-culture’ introduced by E. R. Dodds, and that between the ‘competitive’ and the ‘cooperative’ values advocated by A. W. H. Adkins, are among the more influential ones. Although Adkins's taxonomy encountered some acute criticism, notably from A. A. Long, it has become generally adopted both in the (...) scholarly literature and in general philosophical discussions of Greek ethics. Objections to Adkins's approach have mainly concentrated on demonstrating that his denial of the cooperative values to Homer is untenable on general grounds and is not supported by Homeric evidence. Characteristically, Adkins's thesis concerning the centrality to Homer's ethics of the so-called ‘competitive values‘ has never received similar attention, probably owing to the fact that this is the point at which his picture of the Homeric society concurs with the influential reconstructions by W Jaeger and M. I. Finley. The present study oftimēandaretē, generally held to be the two competitive values central to the Homeric poems, purports to address this issue. (shrink)

Although it has become commonplace to regard Marsiglio of Padua's Defensor Pacis (completed in 1324) as a quintessential work of medieval Aristotelian political theory, this view has been challenged for various reasons in recent years. Some scholarship has pointed to the superficial quality of Marsiglio's appeal to Aristotle's �authority�. Others have emphasized Marsiglio's decisive reliance on sources and doctrines which were quite at odds with his overtly Aristotelian commitments. A revealing measure of the depth of his Aristotelianism is perhaps his (...) failure to cite Aristotle's authority at all in the Defensor Minor, an abbreviated version of the Defensor Pacis composed about 1340.4 At minimum, it seems necessary to reconsider the claim (pioneered already by Albertus Pighius in the sixteenth century) that Marsiglio was �homo magis aristotelicus quam christianus�.5 Indeed, it may be true to say that the assumption of Marsiglio's fidelity to Aristotle has acted as a filter, screening out interesting or original features of his thought because they are cloaked in outwardly Aristotelian language. In this paper, I would like to test this hypothesis with reference to Marsiglio's alleged application of the basic principles of Aristotelian moral psychology (in particular, Aristotle's doctrine of hexis) within the Defensor's account of the constituent parts of the political community. In both his Ethics and his Politics, Aristotle had employed the idea of hexis (often translated as �habit�, but more properly denoting �state� or �firm disposition�) to explain the way in which moral and civil virtues come to be instilled in persons. Thus, hexis served as the foundation for his conception of ethical and political education. Marsiglio seems to use the Latin rendering of hexis, habitus, in a very similar manner. He argues that the different parts of the community, ranging from the rulers and priests to the warriors and farmers, each have a set of characteristics unique to their function. These functional properties are, he says, a result of the differing kinds of habitus which typify each part of the community. (shrink)

Human engagement with nonhuman animals in motion pictures is a complex process that anthropomorphism and identification misconstrue. A superior model comes from cognitive theories of how spectators engage characters, particularly Smith , who suggests modifications to account for the nuances of spectator engagement with nonhuman animal characters. The central components of this amended model include the person schema, the three types of cues that films use to activate the person schema, and what Smith calls the "Structure (...) of Sympathy." Such a model enables us to understand better the role that moving image representations of nonhuman animals play in human-animal relationships. (shrink)

Motion pose capture technology can effectively solve the problem of difficulty in defining character motion in the process of 3D animation production and greatly reduce the workload of character motion control, thereby improving the efficiency of animation development and the fidelity of character motion. Motion gesture capture technology is widely used in virtual reality systems, virtual training grounds, and real-time tracking of the motion trajectories of general objects. This paper proposes an attitude estimation algorithm (...) adapted to be embedded. The previous centralized Kalman filter is divided into two-step Kalman filtering. According to the different characteristics of the sensors, they are processed separately to isolate the cross-influence between sensors. An adaptive adjustment method based on fuzzy logic is proposed. The acceleration, angular velocity, and geomagnetic field strength of the environment are used as the input of fuzzy logic to judge the motion state of the carrier and then adjust the covariance matrix of the filter. The adaptive adjustment of the sensor is converted to the recognition of the motion state. For the study of human motion posture capture, this paper designs a verification experiment based on the existing robotic arm in the laboratory. The experiment shows that the studied motion posture capture method has better performance. The human body motion gesture is designed for capturing experiments, and the capture results show that the obtained pose angle information can better restore the human body motion. A visual model of human motion posture capture was established, and after comparing and analyzing with the real situation, it was found that the simulation approach reproduced the motion process of human motion well. For the research of human motion recognition, this paper designs a two-classification model and human daily behaviors for experiments. Experiments show that the accuracy of the two-category human motion gesture capture and recognition has achieved good results. The experimental effect of SVC on the recognition of two classifications is excellent. In the case of using all optimization algorithms, the accuracy rate is higher than 90%, and the final recognition accuracy rate is also higher than 90%. In terms of recognition time, the time required for human motion gesture capture and recognition is less than 2 s. (shrink)

Competence based education (CBE) and Bildung oriented education (BOE) fare differently when faced with problems that afflict our societies. CBE intends learning as the acquisition of separate competences thought of as objective measurable dispositions and goals to achieve, characterised by motivational states and intellectual and technical skills. By contrast, BOE is holistic and transmission oriented. BOE is understood as a process of interaction between the self and the world in the most general and widest possible way. BOE conceptualises learning as (...) a kind of construction of a meaningful picture of the world in learners’ minds. In this paper, I make a general case in support of BOE and against CBE that draws on Rahel Jaeggi’s conception of a form of life as an organised cluster of practices with a normative character. Forms of life are basic constituents of the social world. I first dissect the notion of form of life and that of immanent critique, which is, according to Jaeggi, the type of critique used by participants in a form of life to overcome problems and crises and make the form of life flourish (Jaeggi, 2022). I then contend––following Jaeggi––that forms of life can be conceptualised as collective problem-solving and learning activities with normative structure and historical character. This is so, because emancipatory forms of life are those that progressively resolve their own problems by learning about social reality through the exercise of immanent critique. Next, I argue that CBE and BOE represent two distinct types of critical attitude which ground respectively to diverse ways to conceive the norm underlying a certain form of life. I contend that CBE is a deviant form of life because its capacity for critical transformation is structurally limited due to a normative failure. This type of failure happens when the norm – and the critique -- is external to the form of life and applies to it from outside. Here the norm aims to be universally applicable because it is conceived as neutral, in line with the so-called “ideal of impartiality” -- that is the idea that there are neutral and impartial criteria by which it is possible to assess forms of life -- or alternatively when the norm assumes the form of an ideal perceived as never perfectly obtained in practice. One mode of the ideal of impartiality is represented by instrumental rationality which is exclusively concerned with the search for efficient means, and which consequently is not concerned with assessing the goals or ends pursued, differently from forms of life’s attitude. Furthermore, instrumental rationality is considered a dominant view because due to its alleged neutrality, it shapes not only the economic field but also those social practices that involve people and institutions (cf. Cruickshank, 2014, Mattei, 2023, Popp Berman 2022). However, the feeling is that neutral (instrumental) rationality allows to evade the question of meaning that social practices and forms of life have for people involved in them, and which have a distinct normative nature. By contrast, the type of rationality that BOE endows learners with is a form of immanent rationality, i.e. a form of rationality which considers contingencies and different contexts and situations which pose different problems to solve. BOE asks for reflection and this, in turn requires the use of historically, culturally and socially situated notions. In immanent critique trade-off procedures are used to strike a balance between the need to preserve the characteristics of a temporally situated form of life to safeguard its identity and the need to change some of them to cope with new problems. I conclude that while CBE does not stimulate the abilities required to heal the pathologies of forms of life and might even hinder their development, BOE is well suited to equip students with these abilities. In this work I will refer to ‘continental’ as well as to ‘analytical’ philosophers, while the style is more analytical as what pertains argument presentation. (shrink)

Ethotic arguments, such as arguments from expert opinion and ad hominem arguments, play an important role in communication practice. In this paper, we argue that there is another type of reasoning from ethos, in which people argue about actions in the world. These subspecies of ethotic arguments are very common in public debates: societies are involved in heated disputes about what should be done with monuments of historical figures such as Stalin or Colston: Should we demolish the building they funded? (...) Should we revere their statues? Should the street named after them be renamed?; and the general public vividly argue about what should be done with the legacy of producers, directors and actors in debates of the #MeToo movement: Should their new movies be distributed? Should their scenes be deleted from motion pictures? Should their stars from the Hollywood Walk of Fame be removed? Many arguments in these debates boil down to the character of the public figures: He was a slave trader!—But he is a part of our history; He harassed a young girl!—But he is an important actor. The reasoning step here is legitimised by the association between a person and an extra-linguistic object: the association between a historical figure and their statue or between an actor and their movie. The nature of this association is explained in the paper using Peirce’s theory of signs. We propose to extend an existing approach to patterns of reasoning from ethos that will help us to shed new light on ethotic argumentation and open an avenue for a systematic account of these unexplored argument forms. (shrink)

The present collection of essays brings into dialogue Pier Paolo Pasolini (1922-1975) and Rainer Werner Fassbinder (1945-1982) by comparing their cultural and intellectual legacy. Pasolini and Fassbinder are amongst the last radical filmmakers to have emerged in Europe. Born in Italy and Germany, they inherited a traumatic social and political past which is reflected in their works through a number of similarly articulated and unresolved tensions: high and popular cultures, theatre, literature and cinema, ideology and narration, major and minor codes (...) of expression. The essays in this book examine the uncompromising character of Pasolini's and Fassbinder's films. Constantly oscillating between utopia and nihilism, these works invite us to reconsider subjective and collective questions which from today's perspective seem lost forever. (shrink)

This fascinating study explores the difficulties faced by modern Westerners in their search for a meaningful life. It sheds light on this enduring cultural dilemma through a close reading of four popular film and television narratives: Pixar's animated feature film, Toy Story; Christopher Nolan's Batman Begins and The Dark Knight; the television romantic comedy, Sex and the City; and, finally, the mobster drama, The Sopranos. The readings are guided by a number of inter-related questions. First, in what ways do these (...) popular stories speak to the modern West's meaning dilemma? What do they have to say about contemporary culture, and its capacity to illuminate the fundamental human? What are the core problems faced by the central characters and how are they resolved? Finally, and perhaps most importantly, do the four stories that come into focus suggest hope or despair in the modern West's search for meaning? (shrink)

The most powerful films have an afterlife. Their sensory appeal and their capacity to elicit involvement in story, character and conflict reaches beyond the screen to subtly reframe the way spectators view ethical issues and agents. This book questions how cinematic narratives relate to and affect ethical life.

_An engaging look at the philosophical underpinnings of Earth's Mightiest Heroes_ Avengers assemble! Tackling intriguing dilemmas and issues that no single great philosopher can withstand, this powerful book enlists the brainpower of an A-list team of history's most prominent thinkers to explore the themes behind the action of Marvel Comics' all-star superhero team. Arms you with new insights into the characters and themes of _The Avengers_ Deepens your appreciation both of _The Avengers_ comics and the Joss Whedon movie adaptation (...) Answers the philosophical questions you've always had about Earth's Mightiest Heroes, including: Can a reformed criminal become a superhero? Can an android love a human? If a hero beats his wife, is he still a hero? Helps you think differently about the members of the superhero team—Captain America, Iron Man, Thor, and the others This thought-provoking book will help you understand this band of superheroes better, whether you've followed the Avengers for years or are a Joss Whedon fan just getting to know them. (shrink)

Employing a thematic approach and drawing on disciplines ranging from neurobiology to philosophy, Film and Morality examines how morality is presented in films and how films serve as a source of moral values. While the role of censorship in upholding moral standards has been considered comprehensively, the presence of moral dilemmas in films has not attracted the same level of interest. Film-makers may address moral concerns explicitly, but moral dilemmas can serve as plot devices, creating dramatic tension by providing pivotal (...) moments when characters are called upon to make life-changing decisions. Drawing on a range of well-known and neglected films mainly from Britain and America, this book provides numerous examples of how film-makers make use of morality and how audiences are invited to explore moral issues by following characters who live with the consequences of their choices. Film and Morality introduces philosophical debates on such topics as free will, conscience and the place of moral codes in everyday life, showing the relevance of film to these issues. The book presents a distinct approach to how films might be analysed. (shrink)

On the surface, The Philosophical Hitchcock: Vertigo and the Anxieties of Unknowingness, is a close reading of Alfred Hitchcock’s 1958 masterpiece Vertigo. This, however, is a book by Robert B. Pippin, one of our most penetrating and creative philosophers, and so it is also much more. Even as he provides detailed readings of each scene in the film, and its story of obsession and fantasy, Pippin reflects more broadly on the modern world depicted in Hitchcock’s films. Hitchcock’s characters, Pippin (...) shows us, repeatedly face problems and dangers rooted in our general failure to understand others—or even ourselves—very well, or to make effective use of what little we do understand. Vertigo, with its impersonations, deceptions, and fantasies, embodies a general, common struggle for mutual understanding in the late modern social world of ever more complex dependencies. By treating this problem through a filmed fictional narrative, rather than discursively, Pippin argues, Hitchcock is able to help us see the systematic and deep mutual misunderstanding and self-deceit that we are subject to when we try to establish the knowledge necessary for love, trust, and commitment, and what it might be to live in such a state of unknowingness. A bold, brilliant exploration of one of the most admired works of cinema, The Philosophical Hitchcock will lead philosophers and cinephiles alike to a new appreciation of Vertigo and its meanings. (shrink)

What are the primary characteristics that define what it means to be human? And what happens to those characteristics in the face of technology past, present, and future? The three essays in Image, by leading philosophers of religion Mark Taylor, Mary-Jane Rubenstein, and Thomas Carlson, play at this intersection of the human and the technological, building out from Heidegger's notion that humans master the world by picturing or representing the real.Taylor's essay traces a history of capitalism, dwelling on (...) the lack of humility, particularly in the face of our own mortality, that is the persistent failure of humans, before turning to art as a possible way to bring us back to earth and recover humility before it is too late. Rubenstein zeroes in on the delusions of imaginative conquest associated with space travel. Through a genealogy of the modern "view from space" from the iconic Earth rise photo of 1968 up to the new privatized American space race, Rubenstein provides an analysis of the perils of the one-world and the false unity it projects. In his essay, Carlson takes as his starting point the surveillance capitalism of facial recognition technology. He dives deep into Heidegger to meditate on the elimination of individuals through totalizing gestures and the relationship between such elimination and our encounters with mortality. Each of these essays, in its own way, reflects on the nature of imagination, the character of technological vision in contemporary culture, and the implications of these for the kinds of sociality and love that condition our human experience. (shrink)

A COMPANION TO MOTION PICTURES AND PUBLIC VALUE A Companion to Motion Pictures and Public Value brings together original essays by world-renowned scholars investigating the varied intersections of the moving image and the public good. Covering a wide range of types and genres of cinema, this unprecedented volume explores the past, present, and possible future contributions of motion pictures to public value. With a cross-disciplinary approach, the text presents original conceptual work, global perspectives, philosophical (...) arguments, historical discussion, empirical research, and specific case studies of the direct and indirect public value developed through motion pictures. Organized into seven thematic sections, this Companion identifies and discusses the various kinds of values that motion pictures can deliver, including artistic and aesthetic, ethical and moral, spiritual and religious, cultural, environmental, political, and cognitive. Throughout the text, readers are provided with deep insight into the issue of public value as it relates to cinema and its positive impact on human life and society. A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines. (shrink)

Part One defends the thesis, first advanced by Aristotle, that the conclusion of practical reasoning is an action, and argues for its philosophical significance. Opposition to the thesis rests on a contestable way of distinguishing between acts and contents of reasoning and on a picture of normative principles as external to the actions that fall under them. The resulting view forces us to choose between the efficacious, world-changing character of practical thought and its subjection to objective rational standards. This is (...) a false choice. Aristotle's own understanding of the thesis points the way to an alternative conception of practical reason on which it is at once a power to effect changes in the world and to get things right. Practical reasoning endows the action performed on its basis with a principle that is not imposed on it from outside: instead, it makes the action what it is. Properly understood in terms of the relevant acts of a rational subject, the thesis is defensible and philosophically attractive. Furthermore, it helps us understand the continuity and discontinuity that exists between the motions of human beings and those of other animals, as Aristotle showed. (shrink)

Advertising is one of the commonly visible elements of the urban landscape (real and virtual). It also does not require proof that advertisements of cities as such are also part of their “cityscape.” Since at least the nineteenth century, cities have advertised themselves as attractive places to live, visit, or do business. Therefore, the following research question can be asked: How do Polish cities present themselves in advertisements one can find in the landscape? The study assumes that each advertisement should (...) clearly identify the sender and indicate its specific characteristics, distinguishing itself from its competitors. Polish cities began to use logos and slogans as a mecha­nism of description and distinction after 1990, when socioeconomic changes started. There are quite a few studies on this activity, but most of them are single case studies. Therefore, the authors decided to examine a relatively large sample of Polish cities, which allows for statistical analysis. Analysis of the logo and slogan content allows the authors to examine the desired image or the projected identity of Polish cities. The methods were chosen because they admit qualitative and quantitative analysis, especially when there is a sufficiently large sample. Therefore, the survey covered all towns and cities with more than 20,000 inhabitants in Poland. There are 218 such towns in total. The analysis was carried out in the first half of 2021. In conclusion, the authors find that the advertising of Polish cities is embedded in the past, promotes resources (substance), sometimes geographical location, but rarely refers to famous characters and human potential. And such a picture of these cities one may find on outdoor advertisements, which sometimes produce dissonance when accompanying modern buildings or new transport solutions in the city. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism, Homoeroticism, and Christian Guilt in The Picture of Dorian GrayJoseph CarrollSince the advent of the poststructuralist revolution some thirty years ago, interpretive literary criticism has suppressed two concepts that had informed virtually all previous literary thinking: (1) the idea of the author as an individual person and an originating source for literary meaning, and (2) the idea of "human nature" as the represented subject and common frame of (...) reference for literary depictions. Under the tutelage of Barthes, Derrida, and Foucault, literary critics learned to speak of authors, characters, settings, and plots not as individuals situated in a natural world but as discursive formations constituted by the circulation of linguistic, cultural, and ideological energies. In the three decades during which poststructuralism has dominated academic literary study, a different kind of revolution—evolutionary, Darwinian, and naturalistic—has been transforming the social sciences. Sociobiology, evolutionary psychology, Darwinian anthropology, behavioral ecology, cognitive archaeology, and behavioral genetics do not all agree with one another in every respect, but they are all nonetheless aspects or phases of a common research program. The central working hypothesis in this program is that the human species, like all other species, has evolved in an adaptive relation to its environment and that as a consequence it has a distinct, genetically transmitted, species-typical set of characteristics—anatomical, physiological, hormonal, neurological, and behavioral. That set of characteristics is what in common language is meant by "human nature." Literature has always given us subjectively evocative depictions of human nature, and Darwinian social science is now giving us a more comprehensive and scientifically precise account of it. The sense of [End Page 286] individual agency is one crucial aspect of human nature, and that aspect is now being explored in complementary ways by personality psychology and by cognitive neuroscience.1Over the past decade or so, a scattered handful of literary scholars has broken away from the dominant poststructuralist paradigm and has sought to make use of the new scientific information on human nature.2 The simplest and most obvious way to use this information is to examine the behavior depicted in literary texts and to correlate that behavior with "human universals," that is, with forms of behavior that appear in every known culture and that thus appear to be embedded in the nature of the species. Seeking depictions of universals has produced valuable results for literary study, but this first move in Darwinian criticism does not exhaust the range of possibility in the analysis of literary meaning. Human nature is complex and sometimes divided against itself; individuals vary, and some variations depart from species-typical patterns, even in the most adaptively crucial aspects of survival and reproduction. Moreover, literary meaning involves more than the represented subject matter. Authors imbue texts with meanings and affects peculiar to themselves; authors engage in communicative transactions with audiences; and texts have formal and aesthetic properties that are not reducible to represented subject matter. All of these aspects of the total literary situation are part of literary meaning, and all of them can and should fall within the range of analysis available to Darwinian literary study.3Oscar Wilde's The Picture of Dorian Gray offers two special challenges to Darwinian criticism. First, the novel is saturated with homoerotic sexual feeling, and it thus defies any simple reading in terms of behavior oriented to reproductive success. Second, the central conflicts in the novel involve two competing visions of human nature, and in their conceptual structure neither of those visions corresponds very closely to the quasi-Darwinian conceptual structure implicit in most realist and naturalist fiction. One vision derives from the aestheticist doctrines of Walter Pater, and the other from a traditional Christian conception of the soul. Pater's ideas about human motives and the human moral character are at variance both with Christianity and with Darwinism. Christianity and Darwinism share certain concepts of the human moral and social character, but they couch those concepts in different idioms, and they would invoke wholly different causal explanations for how human nature came to be the way it is. Wilde does not develop his themes in Darwinian terms, but the novel can still be read [End Page... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Self-Interest and Public Interest m Shaftesbury's Philosophy STANLEY GREAN THE SEV~NTEENTrt-CV.NTVRYproblem of the relationship of self-interest and public interest was carried over by the third Earl of Shaftesbury into the eighteenth century where it became a major issue for generations of British moralists. His own preoccupation with the problem began at an early date in his career, for the lnquiry Concerning Virtue or Merit (1699), the first draft of (...) which he wrote in his twenties, deals with it at length,1 and it is, according to him, the "main problem" of that work. This interest must have been deepened by his knowledge and experience of the bitter and tumultuous factional strife of the seventeenth century. There was also a family tradition of public life, the first Earl having been one of the foremost statesmen in the third quarter of the seventeenth century. The third Earl himself was briefly a figure of some importance on the political scene, serving in Parliament for two sessions? Something of Shaftesbury's character and point of view is revealed in the independent position which he took on certain issues during this time. With the emergence of the Whig and Tory parties a new emphasis was being placed on party organization. The principle of party loyalty "was indeed the only loyalty that was practised by some very important statesmen in the reigns of James, William and Anne.''s Though in general Shaftesbury supported Whig principles and policies, he refused to follow the Whig "party line" on every issue even though sometimes bitterly censured for failing to do so.4 Shaftesbury held that a legislative proposal should be judged on its own merits and not by its source? While recognizing t The first publication of the Inquiry was apparently unauthorized. A revised form appeared as Treatise IV in the 1711 edition of Characteristics. 2In the Commons, 1695-1698, and the Lords, 1700-1701. Ill health forced his retirement from politics. s George M. Trevelyan, History of England (3 vols.; New York: 1952), II, 260. 4Anthony, Earl of Shaftesbury, The Life, Unpublished Letters, and Philosophical Regimen, ed. Benjamin Rand (London: 1900), p. 300. Referred to henceforth as LiIe, Letters. See the comment by the fourth Earl in Life, Letters, pp. xxi-xxii; also Thomas Fowler, Shaftesbury and Hutcheson (New York: 1883), pp. 10-12. [37] 38 HISTORY OF PHILOSOPHY the social value of political parties, it was consistent with Shaftesbury's theory that he insisted that party loyalty must at times be superseded by loyalties to larger interests or to the larger community of which one is a member. In his writings Shaftesbury carried on a continual campaign against the type of reductionism which seeks to explain all human behavior by "that one principle and foundation of a cool and deliberate selfishness.''8 Thus, he attacks Epicurus and Lucretius among the ancients, and Hobbes, Lord Rochester, and La Rochefoucault among the moderns. For these "narrowminded philosophers," "interest, interest comes in ever and anon, and must seem a kind of key to things with which it has nothing to do."' One of Shaftesbury's lines of attack is to point out that psychological egoism, when pressed, proves to be meaningless. If everything one does is attributed to self-interest, he asks, what meaning does the tertn "self-interest" have? If there is no real alternative to egoism, and all actions are equally egoistic, then the very term "egoism" loses significance. It would apparently be impossible to be more or less self-centered. Thus, we would lose an important practical principle of differentiation. The English philosopher pictures the defenders of egoism as saying: "Act as disinterestedly or generously as you please, self still is at the bottom, and nothing else." Now if these gentlemen who delight so much in the play of words, but are cautious how they grapple closely with definitions, would tell us only what self-interest was, and determine happiness and good, there would be an end of this enigmatical wit. For in this we should all agree, that happiness was to be pursued, and in fact was always sought after; but whether found in following Nature, and giving way to... (shrink)

Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear (...) of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

"In this edited collection, an international ensemble of scholars examine what contemporary cinema tells us about neoliberal capitalism and cinema, exploring whether filmmakers are able to imagine progressive alternatives under capitalist conditions. Individual contributions discuss filmmaking practices, film distribution, textual characteristics and the reception of films made in different parts of the world. They engage with topics such as class struggle, debt, multiculturalism and the effect of neoliberalism on love and sexual behaviour. Written in accessible, jargon-free language, Contemporary Cinema (...) and Neoliberal Ideology is an essential text for those interested in political filmmaking and the political meanings of films."--Provided by publisher. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Existence and the Good: Metaphysical Necessity in Morals and Politics by Franklin I. GamwellWilliam MeyerExistence and the Good: Metaphysical Necessity in Morals and Politics FRANKLIN I. GAMWELL Albany: State University of New York Press, 2011. 219 pp. $24.95In the current era, a few prominent philosophers have called into question the antiteleological tendencies of modern thought. For instance, Thomas Nagel argues that we should reject the antiteleology of science (...) and its “comprehensive, speculative world picture” of “reductive materialism” (Mind and Cosmos, Oxford 2012, 4). As a nontheist, Nagel proposes a “natural teleology” as a secular alternative to theism and to the nonteleology of science as a way to offer a more intelligible and holistic understanding of existence; yet he admits at one point: “Without God, it is unclear what we should aspire to harmony with” (Secular Philosophy & the Religious Temperament, Oxford 2010, 6). With less notoriety but with greater insight, Franklin Gamwell challenges not only modernity’s nonteleology but also its postmetaphysical outlook. By developing a neoclassical or process form of metaphysical theism informed by the works of Charles Hartshorne and Alfred North Whitehead, Gamwell spells out with thoughtful clarity what we should aspire to harmonize with in our individual and collective lives.Focusing on moral and political theory, Gamwell demonstrates that a coherent understanding of ethics (The Divine Good: Modern Moral Theory and the Necessity of God, HarperSanFrancisco, 1990) and politics (Democracy on Purpose: Justice and the Reality of God, Georgetown University Press, 2000) presupposes a neoclassical metaphysical teleology. Here, in Existence and the Good, he offers [End Page 228] a more concise, refined, and integrated formulation of these previous arguments as well as new engagements with important thinkers such as Martin Heidegger and Jeffrey Stout.Gamwell pursues metaphysics in both a “strict” and a “broad” sense: the former refers to critical reflection on the most general characteristics of existence as such, while the latter refers to reflection on the necessary conditions of existence with understanding (17–19). Beginning with the former, he argues that metaphysics properly conceived––in terms of becoming rather than being––is a valid and essential enterprise because “something exists” is necessarily true while “nothing exists” cannot possibly be true (25). He then seeks to show that metaphysics in a broad sense includes metaphysics in the strict sense because existence with understanding necessarily presupposes a metaphysical telos. Toward this end, he engages Heidegger on the metaphysics of subjectivity (chap. 2). Whereas the later Heidegger maintains that all understandings of totality are wholly dependent upon some lifeworld, Gamwell counters that “totality is prior to meaning” because “exemplifications of subjectivity are constituted by prior or nonconscious relations to an order of actualities and possibilities” (49).In chapter 3 Gamwell explicates his neoclassical theism by arguing that the metaphysical telos must be an all-inclusive divine individual. Distinct from Hartshorne, he posits that God does not relate to the world merely in terms of an integration of all past actualities but rather “cooccupies the locus of all contemporaries.” Thus, all “worldly enactment localizes the divine” (90). Gamwell offers here a metaphysical version of incarnation: “Localization of the divine means relation to a becoming that cooccupies one’s place in the world and, therefore, means a communion unlike any other, so that God, we may say, is ‘closer than hands or feet.’ As the metaphysical individual, God is literally the one ‘in whom we live and move and have our being’” (92).Gamwell concludes by engaging Stout on the underlying necessity of metaphysics for democracy. Whereas Stout offers an “ethics without metaphysics” in the form of a “specific pragmatism,” which holds that citizens can coordinate actions on the basis of “moral norms [that] are entirely creatures of historically located social practices” (134), Gamwell maintains that democracy requires “a metaphysical pragmatism,” because “the practice of democratic discourse itself, as all human practices, implies the necessary principle or principles of morality” (146). The key distinction here is between implicit and explicit: Gamwell submits that democracy implicitly presupposes the divine metaphysical telos because that telos is rooted in the very character of reality as such. However, this does not mean that citizens must explicitly recognize or hold... (shrink)

This book provides an answer to the question: «Where does the point-of-view shot come from?» It investigates the emergence of this filmic form as the product of a culture and its history, unravelling the difference between a point-of-view shot and a character's subjective viewpoint.

This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new (...) insights into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Virtue Ethics for the Real World: Improving Character without Idealization by Howard J. CurzerBenjamin HoleCURZER, Howard J. Virtue Ethics for the Real World: Improving Character without Idealization. New York: Routledge, 2023. 272 pp. Cloth, $160.00The development of virtue ethics has been in a lull. This book is a welcome treatise in theory-building, developing a novel Aristotelian approach to virtue ethics that, first, avoids idealization and, second, provides a (...) method for character improvement. It is divided into two parts reflecting these themes.The front matter before the title page brandishes a "No Don Quixotes" sign, warning the reader the following pages are no place for a misguided idealist. Part 1, "Against Idealization," contains six chapters. Chapter 2 argues that idealization is not a useful guide, but an impediment to virtue, since ideals can be misleading, psychologically damaging, and used for nefarious purposes. Chapters 3 through 7 construct a virtue ethical theory without idealization. Idealization may seem central to a virtue-oriented approach to ethics. For example, Rosalind Hursthouse's famous biconditional claims that an act is right if and only if it is what the virtuous person would characteristically do in the same circumstances. By contrast, chapter 3 provides counterexamples separating virtuous action from what the virtuous person would characteristically do, and separating virtuous action from right action. Sacrificing Hursthouse's biconditional is a fundamental change to the way many conceive of Aristotelian virtue ethics, demanding revisions to the rest of the theory. For instance, to address moral dilemmas, chapter 4 defends two psychological mechanisms under which there are virtuous, morally wrong acts that are admirably immoral, and vicious, morally right acts that leave the agent with dirty hands.Chapter 5 provides the grounding for contemporary Aristotelian virtue ethics without idealization, by answering what makes character traits [End Page 541] virtues and what makes acts virtuous. Two-level eudaimonism involves a thin theory, where virtue consists in responding well to different spheres of human activity, and a thick theory, where responding well contributes to the agent's eudaimonia. Since virtuous people may characteristically perform nonvirtuous actions, virtuous actions are not necessarily what virtuous people characteristically do but actions that are endorsed by virtuous people from the perspective of virtue. The "Perspectives Doctrine" claims that virtuous people decide how to respond from the perspective of different virtues, and those perspectives offer incomplete and sometimes incompatible ways of responding. For instance, a temperate person endorsing an action as temperate from the perspective of temperance makes it temperate, but would not make it courageous, and an endorsement from the perspective of courage would not make her action temperate. Agents determine what is virtuous by asking virtuous people to consider, from the perspective of virtue, what should be done; when virtuous people are unavailable, agents can consult philosophers and social scientists who research the responses of virtuous people. Chapter 6 rejects the "Reciprocity of the Virtue Doctrine," which claims possessing one virtue entails possessing the rest, in favor of the "Unevenly Virtuous People Doctrine," on which people can have some but not all of the virtues; character typically improves at different paces in different areas of life. Chapter 7 rejects Philippa Foot's "Corrective Doctrine" of virtue as implausible idealization in favor of a traditionally Aristotelian "Doctrine of the Mean," and argues that the virtues of integrity, forgiveness, tolerance, open-mindedness, and civility are governed by that doctrine.Although character improvement seems to depend on idealization, by striving to achieve some end, part 2's five chapters paint an alternative picture. Chapter 8 defends a medical analogy over competing models philosophers typically employ to understand character improvement, including skill (Aristotle and Julia Annas), stage or path (Aristotle and Wouter Sanderse), self-cultivation (Mengzi), and self-construction (Xunzi) analogies. To improve character, one must look to a fine-grained list of possible character flaws, diagnose deficits in character, and then heal character flaws by employing targeted strategies, including "inculcation strategies, rehabilitation strategies, and strategies to improve society's ethical climate." Character improvement is complex and becomes more so when considering all of the ways one might err. Chapter 9 introduces an Aristotelian model for moral decision-making within each... (shrink)

We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that (...) music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

_Celebrate the Dude with an abiding look at the philosophy behind _The Big Lebowski__ Is the Dude a bowling-loving stoner or a philosophical genius living the good life? Naturally, it's the latter, and _The Big Lebowski and Philosophy_ explains why. Enlisting the help of great thinkers like Plato and Nietzsche, the book explores the movie's hidden philosophical layers, cultural reflection, and political commentary. It also answers key questions, including: The Dude abides, but is abiding a virtue? Is the Dude an (...) Americanized version of the Taoist way of life? How does _The Big Lebowski_ illustrate the Just War Theory? How does bowling help Donny, Walter, and the Dude oppose nihilism? Yes, the Dude is deep, and so is this book. Don't watch the movie—or go to Lebowski Fest—without it. Explores many of _The Big Lebowski_'s key themes, such as nihilism, war and politics, money and materialism, idealism and morality, history, and more Gives you new perspective on the movie's characters—the Dude, the Big Lebowski, Walter Sobchak, Donny, Maude Lebowski, Bunny Lebowski, and others Helps you appreciate the Coen Brothers classic even more with the insights of Aristotle, Epicurus, Kant, Derrida, and other philosophical heavyweights. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational (...) momentum indicate that motion is really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

Untangle the complex web of philosophical dilemmas of Spidey and his world—in time for the release of The Amazing Spider-Man movie Since Stan Lee and Marvel introduced Spider-Man in Amazing Fantasy #15 in 1962, everyone’s favorite webslinger has had a long career in comics, graphic novels, cartoons, movies, and even on Broadway. In this book some of history’s most powerful philosophers help us explore the enduring questions and issues surrounding this beloved superhero: Is Peter Parker to blame for the death (...) of his uncle? Does great power really bring great responsibility? Can Spidey champion justice and be with Mary Jane at the same time? Finding your way through this web of inquiry, you’ll discover answers to these and many other thought-provoking questions. Gives you a fresh perspective and insights on Peter Parker and Spider-Man’s story lines and ideas Examines important philosophical issues and questions, such as: What is it to live a good life? Do our particular talents come with obligations? What role should friendship play in life? Is there any meaning to life? Views Spider-Man through the lens of some of history’s most influential thinkers, from Aristotle, Thomas Aquinas, and Immanuel Kant to Nietszche, William James, Ayn Rand, and Alasdair MacIntyre. (shrink)