Abstract:Nicholas Winding Refn regularly appears to offer men as his audience's main point of identification. Yet these men are predominantly transgressive characters who frequently, if not constantly, frustrate spectator-identification and consequently linger on the periphery of cinematic paradigms. In three stages, this article analyses how Refn's violent male characters affect spectatorship. First, it considers the unstable subject mechanisms for spectator-identification afforded by classical Hollywood cinema. Second, it examines Julia Kristeva's psychoanalytical theorization of the abject and outlines the relevance (...) of her concepts to Refn's narratives. Third, it conducts a close textual analysis of Bronson (2008) and Drive (2011), arguing that the disregard for symbolic order demonstrated by Refn's male protagonists and their concomitant embrace of the death drive inhibit spectator-identification. This analysis ultimately aims to demonstrate the import of Kristeva's theories to a more comprehensive understanding of the abject's complex relationship to Refn's œuvre and to spectator-identification in cinema. (shrink)

Significantly expanded from a special issue ofSouth Atlantic Quarterly(Spring 1989), these essays confront the extent to which formalism has continued to ...

During the early part of the classic Hollywood sound period (1930–60), filmmakers sharpened a standardized way to portray Native American characters in Westerns. Such figures were depicted as disgusting by virtue of being beyond the pale in terms of their “acceptable” moral behavior, as measured by common white sensibilities of the era. This behavior was attributed to their nonwhiteness and therefore presumptively stemmed from their allegedly subhuman, “savage” nature. This stock depiction of Native American characters became one of creatures (...) who communicated by means of silence, war whoops, animal sounds, or unintelligible language, and committed grievous moral transgressions without qualm. In this article I analyze the theoretical structure of such depictions and how these depictions work in terms of typical audience reaction, using recent work in philosophy of film, philosophy of emotion, and cognitive film theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. 757 Ramzi Fawaz How to Make a Queer Scene, or Notes toward a Practice of Affective Curation Let me begin with two stories. In spring of 2013 I organized a semester -long, undergraduate film series at George Washington University titled “Acting Up: Queer Film and Video in the Time of AIDS.” At semester ’s end, after participants had (...) watched nine films about the AIDS epidemic —among them classic AIDS documentaries, activist videos, and mainstream Hollywood productions—I chose to conclude the series with the 1991 documentary Silverlake Life: The View from Here. Silverlake Life documents a year in the lives of Tom Joslin and Peter Friedman, a gay couple living in Los Angeles in the late 1980s who share an HIV diagnosis. At the time I made the selection, I did not realize that Silverlake Life documents one of the most devastating lived experiences of the AIDS epidemic ever filmed: during the course of taping, Tom, the initial documentarian, becomes gravely ill and dies on camera while lying in bed after a week-long convalescence. Reviewing this scene before our official screening, I found myself overwhelmed by intense feelings of anxiety. On the one hand, I felt a deep responsibility to expose my students to the aesthetic and political work of this daring documentary, and on the other, to protect them from witnessing forms of suffering that might traumatize them more than illuminate the social history of AIDS. When we convened to discuss the film, many students expressed how devastated they were by what they had seen. Rather than shutting down conversation, however, the depth and intensity of their viewing 758 Ramzi Fawaz experience galvanized an extraordinary conversation about the ethics of documenting the lives (and deaths) of people with AIDS. What they witnessed expanded the very possibilities of what they could feel about issues of collective concern such as the AIDS epidemic, while also transforming their ability to reconsider productive encounters with pain, suffering, and trauma. In my fear of negatively impacting students, I had forgotten both their capacity to respond with generosity and openness to traumatic images as well as my own careful curation of nine previous films and the attendant conversations held around them, which had laid a groundwork of shared affective openness to difficult content. One year later, as a newly minted assistant professor of English at the University of Wisconsin, Madison, I taught a large lecture course on American fantasy. In the fourth week of class, I screened The Wizard of Oz as part of a unit on the Hollywood musical, and I devoted a lecture to a gay and lesbian interpretation of this classic film. I highlighted the movie ’s camp aesthetics, its gender play and drag elements, and its derailing of traditional heterosexual romance plots. As a gay man well versed in queer media scholarship, I took it for granted that this was a pleasurable but patently obvious interpretation of a film that I assumed most people recognized for its exuberant and visually spectacular gayness. Yet as I spoke, I sensed a visceral tension build in the room. Half the students seemed mesmerized by the possibility of a queer aesthetic underlying the movie, while the other half frowned at me in silent fury, outraged by my daring to desecrate the presumed innocence of a childhood escape. The seething resentment of this latter group was confirmed for me when, weeks later, my teaching assistants disclosed that numerous students had expressed feelings of anger and frustration that my interpretation had “ruined” their pleasure in a beloved film of their youth. This circumstance prompted me to confront my students the following week: microphone in hand, I strolled the room and asked students to account for their feelings of discomfort. I wanted them to explain why their personal pleasure in The Wizard of Oz hinged on the diminishment of alternative viewing possibilities, including unexpected queer delights in transparently “straight” narratives. Students were clearly jolted out of their complacent belief that no one would hold them accountable for their perspective, or that their view might have political or ethical consequences: yet the resistance of some to being called... (shrink)

In this pathbreaking book one of America’s most distinguished philosophers brilliantly explores the status and authority of law and the nature of political allegiance through close readings of three classic Hollywood Westerns: Howard Hawks’ _Red River_ and John Ford’s _The Man Who Shot Liberty Valance_ and _The Searchers._ Robert Pippin treats these films as sophisticated mythic accounts of a key moment in American history: its “second founding,” or the western expansion. His central question concerns how these films explore (...) class='Hi'>classical problems in political psychology, especially how the virtues of a commercial republic gained some hold on individuals at a time when the heroic and martial virtues were so important. Westerns, Pippin shows, raise central questions about the difference between private violence and revenge and the state’s claim to a legitimate monopoly on violence, and they show how these claims come to be experienced and accepted or rejected. Pippin’s account of the best Hollywood Westerns brings this genre into the center of the tradition of political thought, and his readings raise questions about political psychology and the political passions that have been neglected in contemporary political thought in favor of a limited concern with the question of legitimacy. (shrink)

In the late 20th and early 21st centuries, increased computing power has made possible extraordinary leaps in film special effects. This article argues that special effects developed since the beginning of digital animation, when coupled with standard editing room techniques (jump cuts, cutaways), have brought us to an era where the eye cannot keep pace with on-screen events. It is arguable that video gamers are best equipped to handle the visual overload produced by action films' effects. The article enumerates a (...) series of techniques used in current action films to bring about visual excess that has an upsetting, exciting, overwhelming somatic effect on the viewer; these same effects are indispensable for the success of contemporary blockbuster action movies. Following theorist Paul Virilio's arguments, this article suggests that a machine ideology drives the perceptual system to dizzying limits, resulting in the “speed death of the eye.”. (shrink)

Exploring the Philosophy of Death and Dying: Classical and Contemporary Perspectives is the first book to offer students the full breadth of philosophical issues that are raised by the end of life. Included are many of the essential voices that have contributed to the philosophy of death and dying throughout history and in contemporary research. The 38 chapters in its nine sections contain classic texts and new short argumentative essays, specially commission for this volume by world-leading contemporary experts. Exploring (...) the Philosophy of Death and Dying introduces students to both theoretical issues as well as urgent practical issues raised by human mortality, enabling instructors to adapt it to a wide array of institutions and student audiences. As a pedagogical benefit, PowerPoints, discussion questions, and test questions for each chapter are included as online ancillary materials. (shrink)

We pragmatists have within our tradition significant methodological resources for contributing to the understanding of the meaning of beliefs about the nature of death—a topic that has still not received enough attention. 1 I want here to articulate what crucial features of pragmatism I believe to be especially helpful for such a contribution, and to explain something about why they are helpful in this regard. As my title indicates, I am not drawing upon the neo-pragmatism of those such as Richard (...) Rorty, but instead upon some of pragmatism’s rich classical American manifestations, according to which theory must be connected to practice and experience (as opposed to neopragmatism’s linguistic preoccupation).2 In.. (shrink)

ISBN 978-1-4384-9027-4 Argues that Nietzsche’s idea of the Übermensch was a central concern of filmmakers in the 1920s and 1930s. -/- Nietzsche in Hollywood offers a compelling and startling history of Hollywood film in which the German philosopher Friedrich Nietzsche and his idea of the Übermensch looms large. Though Nietzsche’s philosophy was attacked as egoistic and a sociopathic version of Darwinism in films from the 1910s, it undergoes a series of cinematic and philosophical transformations in the 1920s and (...) 1930s under the eye and pen of some of the most significant names in early Hollywood, including Erich von Stroheim, Josef von Sternberg, Ben Hecht, Howard Hawks, and Ernst Lubitsch. In addition to establishing historical connections between Nietzsche’s philosophy and these filmmakers, the book provides philosophical readings of many Hollywood films through the lens of the Nietzschean ideas of “perspectivism” and the critique of morality. Offering a new history of classic Hollywood films as well as a new approach to film philosophy, Nietzsche in Hollywood reveals a reading of the philosopher in American culture that has largely been ignored. (shrink)

The essays in this volume share an ambitious interest in investigating death as an individual, social, and metaphorical phenomenon that may be exemplified by themes involving burial rituals, identity, and commemoration. The disciplines represented are as diverse as art history, classics, history, music, languages and literatures, and the approaches taken reflect various aspects of contemporary death studies.

Although declarations of the death of God seem to be provocations announcing the end of the era of theology, this announcement is actually central to the Christian revelation in its most classic forms, as well as to its reworkings in contemporary religious thought. Indeed provocative new possibilities for thinking theologically open up precisely in the wake of the death of God. Already Hegel envisaged a revolutionary new realization of divinity emerging in and with the secular world through its establishment of (...) a total order of immanence. However, in postmodern times this comprehensive order aspired to by modern secularism implodes or cracks open towards the wholly Other. A hitherto repressed demand for the absolute difference of the religious, or for “transcendence”, returns with a vengeance. This difference is what could not be stated in terms of the Hegelian System, for reasons that poststructuralist writers particularly have insisted on: all representations of God are indeed dead. Yet this does not mean that they cannot still be powerful, but only that they cannot assign God any stable identity. Nietzsche’s sense of foreboding concerning the death of God is coupled with his intimations of the demise of representation and “grammar” as epistemologically bankrupt, but also with his vision of a positive potential for creating value in the wake of this collapse of all linguistically articulated culture. He points the way towards the emergence of a post-secular religious thinking of what exceeds thought and representation. (shrink)

The connections between death, contemplation and the contemplative life have been a recurrent theme in the canons of both western and eastern philosophical thought. This book examines the classical sources of this philosophical literature, in particular Plato's Phaedo and the Katha Upanishad and then proceeds to a sustained analysis and critical assessment of the sources and standpoints of a single thinker, Arthur Schopenhauer, whose work comprehensively pursues this problem. The book traces the pivotal issue of death through the whole (...) range of Schopenhauer's writings uncovering the deeper connotations of his crucial notion of the will-to-live. (shrink)

Der Aufsatz behandelt eingangs die lateinische Exempeltradition pseudoantiker Bildbeschreibungen im 14. Jh., exemplifiziert diese anhand von “römischen” Bildern des Todes, und interpretiert das “römische Bild des Todes” im Ackermann aus Böhmen im Kontext der lateinischen Exempelbilder sowie der zeitgenössischen Ikonographie. Die Todeskonzeption des ganzen Werks spiegelt sich deutlich in dieser Stelle. Das “römische Bild des Unglücks” im alttschechischen Tkadleček wird als Imitation des Todesbildes im Ackermann bei gleichzeitiger Rückbindung an die lateinische Tradition interpretiert.

The Islamic philosophical, mystical, and theological sub-traditions have each made characteristic assumptions about the human person, including an incorporation of substance dualism in distinctive manners. Advances in the brain sciences of the last half century, which include a widespread acceptance of death as the end of essential brain function, require the abandonment of dualistic notions of the human person that assert an immaterial and incorporeal soul separate from a body. In this article, I trace classical Islamic notions of death (...) and the soul, the modern definition of death as "brain death," and some contemporary Islamic responses to this definition. I argue that a completely naturalistic account of human personhood in the Islamic tradition is the best and most viable alternative for the future. This corporeal monistic account of Muslim personhood as embodied consciousness incorporates the insights of pre-modern Muslim thinkers yet rehabilitates their characteristic mistakes and thus has the advantages of neuroscientific validity and modern relevance in trans-cultural ethical discourse; it also helps to alleviate organ shortages in countries with majority Muslim populations, a serious ethical impasse of recent years. (shrink)

Grzegorz Musiał’s late work is exemplary of the Modernist coupling of desire and death, which German Ritz linked to the way that homosexual sensibility has been encoded in Polish literary Modernism. This reading of Musiał is paradoxical at heart, as the writer’s literary output must also be ridden with tensions, because his clinging to a bygone aesthetic in order to render homosexual desire seems quaint in an era in which the idea of gay emancipation is widespread. Musiał’s literary alter ego, (...) who is realized as a fictional character and as the speaker in his poems, is a hybrid of an erudite homosexual male equipped with the classical sensibility and a devout Catholic, whose appreciation and outright enjoyment of church ritual is almost camp. Musiał attempts to pit this literary dummy against the usually younger homosexual men who, like a mob of the living dead, populate the underground world of night clubs and anonymous sex. (shrink)

The paper proposes a solution to the problem with Odysseus’ kingship in the Odyssey by maintaining that Odysseus is not officially considered dead. Consequently, Telemachus cannot inherit the position of king and Penelope must leave Odysseus’ household before remarrying. After discussing the modern concept of legal death and previous interpretations of the Ithacan situation, the paper focusses on Athena's speech at 1.275–92. A close reading demonstrates that erecting a cenotaph to Odysseus would be tantamount to a modern declaration of death (...) in absentia, since it will render Penelope a widow and Telemachus the head of the household. This legal convention chimes with the Homeric depiction of Hades. (shrink)

Demonstrates that slapstick film comedies display a canny and sometimes profound understanding of their medium. Slapstick film comedy may be grounded in idiocy and failure, but the genre is far more sophisticated than it initially appears. In this book, Burke Hilsabeck suggests that slapstick is often animated by a philosophical impulse to understand the cinema. He looks closely at movies and gags that represent the conditions and conventions of cinema production and demonstrates that film comedians display a canny and sometimes (...) profound understanding of their medium—from Buster Keaton’s encounter with the film screen in Sherlock Jr. (1924) to Harpo Marx’s lip-sync turn with a phonograph in Monkey Business (1931) to Jerry Lewis’s film-on-film performance in The Errand Boy (1961). The Slapstick Camera follows the observation of philosopher Stanley Cavell that self-reference is one way in which “film exists in a state of philosophy.” By moving historically across the studio era, the book looks at a series of comedies that play with the changing technologies and economic practices behind film production and describes how comedians offered their own understanding of the nature of film and filmmaking. Hilsabeck locates the hidden intricacies of Hollywood cinema in a place where one might least expect them—the clowns, idiots, and scoundrels of slapstick comedy. “From its analysis of the vaudevillian Victorian origins to early Hollywood expressions, and from defining classical performances by the likes of Keaton to recent postmodern recapitulations, Hilsabeck’s theoretically rigorous and wide-ranging study masterfully weaves a path through the historical, technical, and philosophical art of slapstick comedy. A must for scholars working in this field.” — Daniel Varndell, author ofHollywood Remakes, Deleuze and the Grandfather Paradox. (shrink)

Imagine two friends. Anna inherits nothing and works for every penny she has, while Mary inherits millions. How should a world that respects individual autonomy and private property rights treat Anna’s earnings and Mary’s inheritance? Should it tax them the same, or tax one more heavily than the other? If the latter, which one? The conventional wisdom holds that although some “right” libertarian theories justify taxing income, none justify taxing inheritances. Such taxes are “expropriations” and “an especially cruel injury” that (...) “run[] roughshod over [a] deceased’s interest in the ends his property will serve.” This essay explores the standard libertarian objections to taxing gifts and bequests and argues that libertarians overstate their case when distinguishing the taxation of gratuitous transfers from other types of taxation. At minimum, the benefit theory of taxation embraced by many minimal statists and classical liberals mandates that the receipt of gifts and bequests should be taxed to the recipient. Moreover, the goals of curbing inherited political power and preventing wealthy families from insulating their members from market competition provide two additional explanations for why taxing inheritances to recipients is compatible with classical liberal values. (shrink)

Human death is natural from the perspective of evolutionary biology but unnatural from the vantage point of classical Christian theology. The biblical notion that death entered the world as a result of sin seems hard to square with the view that (human) death has been an integral part of the natural order all along. I suggest an ecumenical solution to this conundrum by retrieving and elaborating the Augustinian modal distinction between strong and weak immortality. It is argued on exegetical (...) and theological grounds that the human being can best be seen as being created in a state of posse mori et posse non mori, and that—when conceptual ambiguities in their writings are dissolved—this is what theologians as diverse as the prelates of the Council of Trent, John Calvin, Louis Berkhof, and Wolfhart Pannenberg had in mind. It is also argued that this solution is compatible with contemporary evolutionary science and can be accepted by creationists of various stripes. (shrink)

The worst of all possible worlds: Arthur Schopenhauer -- The despair of not being oneself: Soren Kierkegaard -- The interlinked terrors and wonders of God: Herman Melville -- The hell of no longer being able to love: Fyodor Dostoyevsky -- The inevitable end of everything: Leo Tolstoy -- The joy of living dangerously: Friedrich Nietzsche -- The dramatic richness of the concrete world: William James -- The only life that is really lived: Marcel Proust -- Our hopeless battle against the (...) boundaries of language: Ludwig Wittgenstein -- The benign indifference of the world: Albert Camus. (shrink)

James Welch never shied away from depicting the lives of Native Americans damned by destiny and temperament to the margins of society. The Death of Jim Loney is no exception. Jim Loney is a mixed-blood, of white and Indian parentage. Estranged from both communities, he lives a solitary, brooding existence in a small Montana town. His nights are filled with disturbing dreams that haunt his waking hours. Rhea, his lover, cannot console him; Kate, his sister, cannot penetrate his world. In (...) sparse, moving prose, Welch has crafted a riveting tale of disenfranchisement and self-destruction. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. (shrink)

This anthology of major classical and contemporary views on key ethical aspects of death and dying is the only philosophically sophisticated, interdisciplinary, and up-to-date introduction to the subject available. Pairs pro and con arguments to give a balanced perspective. Covers a range of topics that reflect the latest developments at the frontier of the field. Provides clearly and carefully written section introductions that define the issues to be discussed. Introduces each selection with a brief editorial essay. Features up-to-date and (...) solid analyses of all issues. Offers an excellent introduction to ethical theory. (shrink)

This chapter examines certain claims made for near‐death and out‐of‐body experiences (ND/OBE), adding neuro‐physiological and theological insights. ND/OBE aredecidedly this‐worldly events and have nothing to do with supposed journeys to spiritualized or nonphysical realms, nor amalgamations with so‐called cosmic consciousness. Classical spiritual encounters were discussed by William James, and by William P. Alston. The chapter compares classic examples of divine disclosure with those given by NDE subjects. Considering the “spiritual” properties of NDE reports, one might be somewhat reluctant to (...) credit them with any serious divine import, or, like some of the otherreports, of enlightening revelatory content. The chapter also summarizes author's analysis that offers arguments against any serious import to NDE phenomenology, other than deriving from stored material in brains of subjects reporting. It continues in critically examining the notion of afterlife, as envisioned throughout the NDE literature, compared with Christian precepts of the creedal “Life Everlasting”. (shrink)

The Islamic philosophical, mystical, and theological sub‐traditions have each made characteristic assumptions about the human person, including an incorporation of substance dualism in distinctive manners. Advances in the brain sciences of the last half century, which include a widespread acceptance of death as the end of essential brain function, require the abandonment of dualistic notions of the human person that assert an immaterial and incorporeal soul separate from a body. In this article, I trace classical Islamic notions of death (...) and the soul, the modern definition of death as “brain death,” and some contemporary Islamic responses to this definition. I argue that a completely naturalistic account of human personhood in the Islamic tradition is the best and most viable alternative for the future. This corporeal monistic account of Muslim personhood as embodied consciousness incorporates the insights of pre‐modern Muslim thinkers yet rehabilitates their characteristic mistakes and thus has the advantages of neuroscientific validity and modern relevance in trans‐cultural ethical discourse; it also helps to alleviate organ shortages in countries with majority Muslim populations, a serious ethical impasse of recent years. (shrink)

Although scholars have long recognized that classical Stoicism affected Walt Whitman’s work, a full account of the extent of this debt has yet to be produced. Although he drew inspiration from many sources, we argue that Whitman’s “spinal ideas”—the ontological, moral, metaphysical and political threads of order in his thinking—are most consistently Stoic in origin. We do so by examining Whitman’s poetry, prose, correspondence, manuscripts, notebooks, and autobiography in the context of the primary and secondary Stoic material with which (...) he was familiar. We demonstrate that a number of ideas at the heart of Whitman’s literary vision—his pantheism, materialism, cosmopolitanism, reconciliation of evil and death, and conceptions of both providence and virtue—were strongly indebted to Stoic thought. As background to this argument, we first explore the transmission of Stoicism to America and its reception among American readers. We also show how and why Whitman came under the influence of Stoic teachings. (shrink)

What is death? Do people survive death? What do we mean when we say that someone is "dying"? Presenting a clear and engaging discussion of the classic philosophical questions surrounding death, this book studies the great metaphysical and moral problems of death. In the first part, Feldman shows that a definition of life is necessary before death can be defined. After exploring several of the most plausible accounts of the nature of life and demonstrating their failure, he goes on to (...) propose his own conceptual scheme for death and related concepts. In the second part, Feldman turns to ethical and value-theoretical questions about death. Addressing the ancient Epicurean ethical problem about the evil of death, he argues that death can be a great evil for those who die, even if they do not exist after death, because it may deprive them of the goods they would have enjoyed if they had continued to live. Confrontations with the Reaper concludes with a novel consequentialist theory about the morality of killing, applying it to such thorny practical issues as abortion, suicide, and euthanasia. (shrink)

One popular rival to Epicureanism is deprivationism, which maintains that a person’s death at a given time is bad for her to the extent that, and because, it prevents her from having a longer life that would have been, on the whole, good. Deprivationism has the surprising implication that we can lessen how bad a person’s death is for them by changing the life they would have had if they lived longer (for example, by convincing a person’s favorite author to (...) stop writing additional books). Some have found this possibility to be “self-defeating”; Egerstrom defends deprivationism against this objection. (shrink)