Given his heralding of the "death of Man" or the "death of the subject", Michel Foucault's work is thought by many to be too fragmentary and anti-foundationalist to be much use for building any sort of ethical or political theory. Chris Falzon challenges this position, arguing that the proper alternative to foundationalism is not fragmentation but dialogue and that concept can be found in Foucault's work. Such a reading of Foucault allows us to see the ethical and political position implicit (...) his work, and how his work contributes to the larger debate concerning the death of Man. This book also presents a rethinking of the debates between Habermas and Foucault and shows how Foucault's work can be used to effectively challenge Habermas' position. Foucault and Social Dialogue provides a compelling reinterpretation of Foucault's legacy. (shrink)

Foucault and Social Dialogue; Beyond Fragmentation is a compelling yet extremely clear investigation of these options and offers a new way forward. Christopher Falzon argues that the proper alternative to foundationalism is not fragmentation but dialogue and that such a dialogical picture can be found in the work of Michel Foucault. Such a reading of Foucault allows us to see, for the first time, the ethical and political position implicit in Foucault's work and how his work contributes to the larger (...) debate concerning the death of man. (shrink)

Philosophy goes to the Movies is a new kind of introduction to philosophy that makes use of movies including The Matrix , Antz , Total Recall and Cinema Paradiso , to explore philosophical ideas. Topics covered include: *the theory of knowledge *the self and personal Identity *moral philosophy *social and political philosophy *philosophy of science and technology *critical thinking. Ideal for the beginner, this book guides the student through philosophy using lively and illuminating cinematic examples. It will also appeal to (...) anyone interested in the philosophical dimensions of cinema. (shrink)

This chapter looks at some of the ways Foucault remade history and rethought the relationship between history and philosophy. It looks at Foucault's rejection, not only of traditional philosophical history, but also of traditional empiricist approaches to history. Then it turns to his alternative view of history as the mapping of transformations of forms of thought. Finally, it considers the transformations his view undergoes, from the “archaeology” of the 1960s, and the “genealogy” of the 1970s, to the “historical ontology of (...) ourselves and our present” in the early 1980s, out of which emerges an understanding of philosophy in which historical reflection plays an integral part. Foucault's genealogical reformulation of his historical approach radicalizes the identification of difference. While archaeology historicizes frameworks of understanding, it imposes its own kind of unity on history. (shrink)

Drawing on a wide range of films from around the world, and the ideas of a diverse selection of thinkers from Plato and Descartes to Marcuse and Foucault, _Philosophy Goes to the Movies_ introduces and discusses central areas of philosophical concern, including: *the theory of knowledge *the self and personal identity *ethics *social and political philosophy *critical thinking Ideal for beginners, this book guides the reader through philosophy using lively and illuminating cinematic examples including _A Clockwork Orange_, _Mulholland Drive_, _Blade (...) Runner_, _Modern Times_, _Wings of Desire_ and _The Lord of the Rings_. This fully revised and updated second edition features an expanded introduction providing guidance on teaching and discussing philosophy through film, as well as new material on notable philosophers such as Rousseau, Aquinas and Nietzche, and discussion of a wide range of recent films. (shrink)

Foucault and Philosophy presents a collection of essays from leading international philosophers and Foucault scholars that explore Foucault’s work as a philosopher in relation to philosophers who were important to him and in the context of important themes and problems in contemporary philosophy Represents the only volume to explore in detail Foucault’s relation with key figures and movements in the history of philosophy Explores Foucault's influence upon contemporary and future directions in philosophy Brings together a group of outstanding scholars in (...) the field and allows them to explore their topic at a high level of sophistication. (shrink)

Philosophy Goes to the Movies is a new kind of introduction to philosophy that makes use of the movies to explore philosophical ideas and positions. From art-house movies like Cinema Paradiso to Hollywood blockbusters like The Matrix, the movies we have grown up with provide us with a world of memorable images, events and situations that can be used to illustrate, illuminate and provoke philosophical thought.

This article looks at the 2014 Swedish comedy-drama Force Majeure as a kind of moral thought experiment, but also insofar as it might not fit such a model. The idea of a cinematic ethics, of cinema as providing an avenue for thinking through ethics and exploring ethical questions, finds at least one expression in the idea of film as experimental in this sense. At the same time, simply subsuming film to the philosophical thought experiment risks forgetting what film itself brings (...) to the proceedings; and how the cinematic medium might allow for an experimentation that goes beyond what can be done within the philosophical text. As experimental in a broad sense, Force Majeure evokes an experience, the extraordinary event beyond one's control, capable of putting a moral agent to the test, challenging one's sense of who one is and what one stands for. The film unfolds as a reflection on the results of this encounter with experience, and on the kind of moral self this experiment brings to light; and in the cours... (shrink)

Now emulated in several competing publications, but still unsurpassed in clarity and insight, _Philosophy Goes to the Movies: An Introduction to Philosophy, Third Edition_ builds on the approach that made the two earlier editions so successful. Drawing on many popular and some lesser known films from around the world, Christopher Falzon introduces students to key areas in philosophy, like: • Ethics • Social and Political Philosophy • The Theory of Knowledge • The Self and Personal Identity • Critical Thinking Perfect (...) for beginners, this book guides the reader through philosophy using illuminating cinematic works, like Avatar, Inception, Fight Club, Wings of Desire, Run Lola Run, A Clockwork Orange, Blade Runner, Dirty Harry and many other films. The fully revised and updated Third Edition features: an expanded introduction that provides a new discussion of the relationship between film and philosophy; new material on notable philosophers such as Aristotle, Merleau-Ponty and Rawls; and coverage of new topics like virtue ethics and what Socrates offers for critical thinking. An updated glossary, references and bibliography, and a filmography, are also included in the Third Edition. (shrink)

_A Companion to Foucault_ comprises a collection of essays from established and emerging scholars that represent the most extensive treatment of French philosopher Michel Foucault’s works currently available. Comprises a comprehensive collection of authors and topics, with both established and emerging scholars represented Includes chapters that survey Foucault’s major works and others that approach his work from a range of thematic angles Engages extensively with Foucault's recently published lecture courses from the Collège de France Contains the first translation of the (...) extensive ‘Chronology’ of Foucault’s life and works written by Foucault’s life-partner Daniel Defert Includes a bibliography of Foucault’s shorter works in English, cross-referenced to the standard French edition _Dits et Ecrits_. (shrink)

In Being John Malkovich, the first of Charlie Kaufman's screenplays to be made into a feature film, the protagonist, Craig Schwartz , finds a portal into the body of actor John Malkovich , allowing him to inhabit it for fifteen minutes. Craig describes the experience to his sexy and condescending coworker Maxine , whom he lusts after: "It raises all sorts of philosophical-type questions, you know ... about the nature of self, about the existence of a soul You know, am (...) I me? Is Malkovich Malkovich? I had a piece of wood in my hand, Maxine. I don't have it any more. Where is it? Did it disappear? How could that be? Is it still in Malkovich's head? I don't know! Do you see what a metaphysical can of worms this portal is? I don't see how I could go on living my life the way I've lived it before." Kaufman's film does indeed raise "philosophical-type questions" about the nature of self, including: what kind of self could possibly make this journey? (shrink)

The former Bush administration in the United States was accused by some at the time of exhibiting a “Dirty Harry ethics.” The charge here is that the administration showed a willingness to depart from many standard ethical constraints in its response to terrorism, on the principle that the end, preventing further terrorist attacks, justified any means, including preventive war and torture. What this also suggests is that Don Siegel’s 1971 crime thriller Dirty Harry has become synonymous in the popular imagination (...) with the practice of a certain kind of brutal utilitarian logic, in which the ends justify any means, however shocking, as long as they contribute to the greater good.But whatever... (shrink)

Movies hold a mirror up to us, portraying the complexities of human reality through their characters and stories. And they vividly illustrate moral theories that address questions about how we are to live and what sort of people we ought to be. In this book, Christopher Falzon uses movies to provide a rich survey of moral positions as they have emerged through history. These include the ethics of the ancient world, medieval ethics, Enlightenment and Kantian ethics, existentialist ethics and the (...) ethics of the other. Each theory is explained in detail, using a number of examples from the book’s wide selection of movies. The discussion draws on a range of recent and not-so-recent films, from Hollywood blockbusters to art-house cinema. Key Features: In addition to covering thinkers one would expect in an introduction to ethics, the book discusses less canonical figures in detail as well. Similarly, the book examines both major ethical theories and theories too often glossed over in introductory texts. A wide range of movies are discussed, from Hollywood blockbusters and classics like The Dark Knight, Casablanca and Dirty Harry to lesser known films, like Force Majeure and Under the Skin. At the end of each chapter a focus on two feature films is included, with a plot summary and interpretations of several key scenes with a time marker indicating when in the film the scenes occur. A Filmography includes all movies discussed in the book and a Glossary covers key philosophical terms and figures; both with corresponding page numbers. (shrink)

One fundamental point of agreement that emerged between Foucault and Habermas is that both rejected the Kantian paradigm of critique grounded in the notion of a transcendental subject. For Foucault, genealogy is a form of history that can account for the constitution of knowledge, discourses, etc. without reference to a constitutive subject; while central to Habermas's approach is his rejection of the "philosophy of the subject" in favor of the "intersubjectivist paradigm of communicative action". For Foucault, the end of "man;' (...) a foundational subject providing ultimate normative yardsticks, is not the creation of a deficiency but "the unfolding of a space in which it is once again possible to think". His critical work seeks "to know to what extent it is possible to think differently, rather than legitimating what is already known" ; to promote new forms of self, thought, and action, and to give impetus to the "undefined work of freedom". Yet without direction, doesn't this amount to an unrestricted notion of autonomy? Influenced perhaps by Nietzsche, Foucault calls on us to "create ourselves as a work of art", but without guidance for self-creation, aren't we left only with arbitrary choices, an "aesthetic decisionism," in which one has to take "irrationalist leaps" to affirm anything? (shrink)

There is a sense in which every philosopher both constructs and confronts the philosophical universe in which their work takes form and has its effect. Plato's thought unfolds within the gravitational pull of the Greek city-state, the wandering sophists, the agonistic relations between Athenian aristocrats, and the massive presence of Socrates. Deleuze, to take a contemporary example, creates his concepts and embarks on his lines of flight between thinkers such as Nietzsche and Spinoza, artists and writers including Bacon, Lawrence, and (...) Melville, and contemporary phenomena such as psychoanalysis and consumer capitalism. If we can speak of "Foucault's philosophy," it is in this sense of attempting to sketch out the philosophical universe in which Foucault's work and thought unfolds. What are the philosophical reference points that structure his thought? What are the questions and problems to which he tries to respond? How does he link up his thought with the actual concerns and struggles of both himself and others? The essays in this volume offer a series of answers to these questions, while this introduction attempts to give a preliminary overview of the terrain to be covered. (shrink)

Philosophy through Film This article introduces the main perspectives concerning philosophy through film. Film is understood not so much as an object of philosophical reflection but as a medium for engaging in philosophy. Contributions to the area have flourished since the beginning of the 21st century, along with debates over the extent to which film […].