This book looks at the ways in which The Matrix Trilogy adapts Jean Baudrillard’s Simulacra and Simulation, and in doing so creates its own distinctive philosophical position. Where previous work in the field has presented the trilogy as a simple ‘beginner’s guide’ to philosophy, this study offers a new methodology for inter-relating philosophy and film texts, focusing on the conceptual role played by imagery in both types of text. This focus on the figurative enables a new-found appreciation of the (...) liveliness of philosophical writing and the multiple philosophical dimensions of Hollywood films. The book opens with a critical overview of existing philosophical writing on The Matrix Trilogy and goes on to draw on adaptation theory and feminist philosophy in order to create a new methodology for interlinking philosophical and filmic texts. Three chapters are devoted to detailed textual analysis of the films, tracing the ways in which the imagery that dominates Baudrillard’s writing is adapted and transformed by the trilogy’s complex visuals and soundtrack. The conclusion situates the methodology developed throughout the book in relation to other approaches currently emerging in the new field of Film-Philosophy. The book’s multi-disciplinary approach encompasses Philosophy, Film Studies and Adaptation Theory and will be of interest to undergraduates and postgraduates studying these subjects. It also forms part of the developing interdisciplinary field of Film-Philosophy. The detailed textual analysis of The Matrix Trilogy will also be of interest to anyone wishing to deepen their understanding of the multi-faceted nature of this seminal work. (shrink)

The subject of the study is color symbolism in F. Fitzgerald’s novel «The Great Gatsby» in the aspect of an ambivalent understanding of the conceptual solution in the use of a certain color in creating images of characters, in describing the setting and semantic content of the ideological content of the work and its screen interpretations. The object of study is color as a meaning-forming concept in literature and cinema, the symbolism of color. The work of Francis S. Fitzgerald «The (...) Great Gatsby» is of interest in the study of the influence of color palette. The main research methods are analytical and comparative historical. The color concepts of F. S. Fitzgerald's book “The Great Gatsby” and film adaptations are comprehended. This work by F. S. Fitzgerald is of interest to the modern Russian reader and viewer due to the fact that the problems raised in the novel are still relevant today. The writer touches on the popular theme of the American dream in literature and cinema. The story of the main characters is a vivid example of the illusory nature of this dream, and the lifestyle of the characters and their worldview demonstrate spiritual emptiness and cold indifference to everything except money and wealth. The scientific novelty of the article lies in the study of the ambivalence of perception of the coloristic solution of the images of characters in the book in comparison with its screen interpretations. The author comes to the conclusion that F. S. Fitzgerald in the novel «The Great Gatsby» uses a color palette in creating images of characters and describing the scene in such a way that the ambiguity in the perception of color most unexpectedly and sharply emphasizes the problems raised and becomes the basis for rethinking the ideological content of the work. (shrink)

In this article, I argue, adverting to critical practices, that film adaptations are comparable with the comics that serve as their sources. The possibility of comparison presumes the existence of covering values according to which these comparisons are made. I raise four groupings of covering values for comics—narrative, pictorial, historical, and referential—and show how they apply to film adaptations as well, and argue that a fifth kind of value, fidelity, is relevant to comparisons of source comics (...) to film adaptations. I close with a discussion of different types of fidelity that might be brought to bear in evaluation. (shrink)

Introduction: why did philosophy go to the movies? -- The analytic-cognitivist turn. The empire strikes back: critiques of "grand theory" -- The rules of the game: new ontologies of film -- Adaptation: philosophical approaches to narrative -- From cognitivism to film-philosophy. A.I.: cognitivism goes to the movies -- Bande à part: Deleuze and Cavell as film-philosophers -- Scenes from a marriage: film as philosophy -- Cinematic thinking. Hollywood in trouble: David Lynch's Inland empire -- "Chaos reigns": (...) anti-cognitivism in Lars von trier's Antichrist -- Song of the earth: cinematic romanticism in Malick's The new world -- Coda: "the six most beautiful minutes in the history of cinema". (shrink)

In the past two decades, African American filmmakers like Spike Lee have made significant contributions to the dialogue about race in the United States by adapting techniques from classic _film noir _to black American cinema. This book is the first to examine these artistic innovations in detail from a philosophical perspective informed by both cognitive film theory and critical race theory. Dan Flory explores the techniques and themes that are used in black _film noir _to orchestrate the audience’s emotions (...) of sympathy and empathy felt toward morally complex characters whom people might not typically find appealing in real life, such as thugs, drug dealers, or murderers. Using an approach that combines the cognitive insights of theorists like David Bordwell, Noël Carroll, and Murray Smith with the reflective Wittgensteinian methods for considering film employed by Stanley Cavell, Stephen Mulhall, and William Rothman, Flory shows how these films scrutinize the state of race in America, induce their viewers to do so as well, and illuminate the ways in which categories of race have defined and continue to direct much of our vision of the moral self and what counts as appropriate moral sensibility. (shrink)

In the past two decades, African American filmmakers like Spike Lee have made significant contributions to the dialogue about race in the United States by adapting techniques from classic _film noir _to black American cinema. This book is the first to examine these artistic innovations in detail from a philosophical perspective informed by both cognitive film theory and critical race theory. Dan Flory explores the techniques and themes that are used in black _film noir _to orchestrate the audience’s emotions (...) of sympathy and empathy felt toward morally complex characters whom people might not typically find appealing in real life, such as thugs, drug dealers, or murderers. Using an approach that combines the cognitive insights of theorists like David Bordwell, Noël Carroll, and Murray Smith with the reflective Wittgensteinian methods for considering film employed by Stanley Cavell, Stephen Mulhall, and William Rothman, Flory shows how these films scrutinize the state of race in America, induce their viewers to do so as well, and illuminate the ways in which categories of race have defined and continue to direct much of our vision of the moral self and what counts as appropriate moral sensibility. (shrink)

RESUMO Neste ensaio analiso as diferentes modalidades de pensamento que ocorrem entre a filosofia e as imagens em movimento partindo da distinção metafilosófica elaborada por Gilles Deleuze entre “pensar” e “filosofar”. Esta é uma distinção fundamental para a possível elaboração de uma filosofia do cinema, ou, pelo menos, para afirmar que “o cinema filosofa”, uma tese atualmente imersa num certo equívoco. Neste sentido, como possível resolução para tal mal-entendido, sugiro uma adequada designação deleuziana de “pensar com conceitos” e “pensar com (...) imagens”, num processo recíproco fundamental entre o campo filosófico e o não filosófico das artes. Começando com uma introdução à noologia em Deleuze e uma descrição dessas ideias e do seu valor estético, prossigo com uma análise mais detalhada sobre imagens em movimento, metáforas e adaptação cinematográfica de modo a, dentro de uma abordagem pós-continental e pós-analítica, questionar se o cinema filosofa. ABSTRACT In this essay I analyse the different modalities of thought that occur between philosophy and moving images, beginning with Gilles Deleuze’s metaphilosophical distinction between “thinking” and “philosophizing”. This is an essential distinction for the possible elaboration of a film philosophy, or at least one which claims that “film philosophizes,” a thesis that is nowadays immerged in a certain misconstruction. In this sense, I suggest, as a conceivable resolution to this misunderstanding, a more proper Deleuzian designation of “thinking with concepts” and “thinking with images,” in a fundamental reciprocal process between the philosophical and non-philosophical fields of the arts. Starting with an introduction to Deleuze’s noology and a description of these ideas and their aesthetic value, I proceed with a closer analysis of moving images, metaphors, and film adaptation in order to question, within a post-continental-analytic approach, whether film philosophizes. (shrink)

Anna Kornbluh provides an overview of Marxist approaches to film, with particular attention to three central concepts in Marxist theory in general that have special bearing on film: “the mode of production,” “ideology,” and “mediation.” In explaining how these concepts operate and how they have been used and misused in film studies, the volume employs a case study to exemplify the practice of Marxist film theory. Fight Club is an exceptionally useful text with which to explore (...) these three concepts because it so vividly and pedagogically engages with economic relations, ideological distortion, and opportunities for transformation. At the same time, it is a very typical film in terms of the conditions of its production, its marketing, and its popularity. Adapted from a novel by Chuck Palahniuk, the film is a contemporary classic that has lent itself to significant re-interpretation with every shift in the political economic landscape since its debut. Marxist Film Theory and Fight Club models a detailed cinematic interpretation that students can practice with other films, and furnishes a set of ideas about cinema and society that can be carried into other kinds of study, giving students tools for analyzing culture broadly defined. (shrink)

This chapter investigates the content of the concept of adaptation, as it is seen on analogy to linguistic translation and as it is seen as itself a representation of the process of human self-definition and self-composition. Word-to-word translation is uncovered as a misleading analogy, but larger frames of translation are shown to be illuminating. Quine’s work on the indeterminacy of translation is intertwined with Charlie Kaufman’s script for his film Adaptation, and the simple notion of the matching of the (...) adaptation to the original is called into question—as is the very idea of a static original against which the verisimilitude of an adaptation would be measured. The chapter concludes with an inventory of the elements that fill the creative space that is opened between an originating text and its adaptation. (shrink)

Shawn Loht's ground-breaking Phenomenology of Film: A Heideggerian Account of the Film Experience (2017) offers a detailed account of film experience as rooted in Martin Heidegger's existential structure of Dasein. Adapting Being and Time for a phenomenology of cinematic experience, Loht accurately describes how various existential structures of Dasein are “fostered” by the projected world of film: in Loht's account, being-in-the-world is extended in the film experience. Loht's project offers fertile ground for developing the phenomenological (...) basis of film experience. Yet, Loht anchors this account of film experience primarily in Heidegger's early philosophy; this leaves his adaptation not without challenges. First, if the structure of film experience is mapped too closely onto the notion of Dasein projecting itself into the filmworld, this theory presents the risk of taking the early Heidegger's “hands-on” approach too literally. Moreover, in its concern for Dasein's extensions into the world of film, Phenomenology of Film says little about the distinctly mediated character of filmworlds; this leaves ambiguous where the film experience effectively takes place. (shrink)

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

The research conducted at Nuevo Rocafuerte High School evaluated the efficacy of the Movie Method, which is an app for learning English that focuses on English vocabulary development for tenth-year EFL students. Methodologically, the research integrated surveys with test performance analysis to gauge the impact of digital tools on language acquisition at the A1 proficiency level. Results demonstrated a marked preference for digital learning, with 60% of students favoring movie-based methods over traditional vocabulary learning strategies. The adaptability of the Movie (...) Method was a significant factor, reflected in its high average score for enhancing vocabulary retention and understanding of difficult words. Despite initial reductions in participation due to unfamiliarity with the method, engaged students displayed considerable gains in vocabulary comprehension and usage, affirming the potential of such applications in bolstering language proficiency. The study underscores the importance of integrating mobile technology in educational strategies and the necessity of accessible, user-centered educational resources. Further investigation is required to corroborate these findings and assess the long-term impact of digital tools in diverse educational settings. (shrink)

This book attempts to answer the questions, posed by T.J. Demos (in Against the Anthropocene, 2107): how do we find a way address the planetary harm and the issues it raises within the field of Film Studies? How do we construct a theoretical model that allows us to visualize the ecological transgressions brought about by the growth-model of capitalism which is heavily endorsed by mainstream narrative cinema? By turning to the Regenerative model set out in Kate Raworth's book Doughnut (...) Economics (2017) and adapting its fundamental principles to a study of narrative cinema, Film Ecology proposes to show how, by using this model, we can usefully plot and investigate films according to criteria that are not genre/star/auteur-led, nor indeed embedded in anthropocentric theoretical models, but principles which are ecologically based. The hope is that this approach will inspire film practitioners, film theorists, critics and analysts, film students and film lovers alike to consider how they might integrate this Doughnut model into their thinking or work as part of their process. (shrink)

Concepts in Film Theory is a continuation of Dudley Andrew's classic, The Major Film Theories. In writing now about contemporary theory, Andrew focuses on the key concepts in film study -- perception, representation, signification, narrative structure, adaptation, evaluation, identification, figuration, and interpretation. Beginning with an introductory chapter on the current state of film theory, Andrew goes on to build an overall view of film, presenting his own ideas on each concept, and giving a sense of (...) the interdependence of these concepts. Andrew provides lucid explanations of theories which involve perceptual psychology and structuralism; semiotics and psychoanalysis; hermeneutics and genre study. His clear approach to these often obscure theories enables students to acquire the background they need to enrich their understanding of film -- and of art. (shrink)

_Adaptation_ is the film this article is about. The rules of electronic articles require that it be quoted with underscores. 'Adaptation' is the subject and title of this articleand so should be indicated with inverted commas. Adaptation, without underlining and without quotation marks, is just adaptation, the thing itself. And here comes the question: what is Real Thing Itself? _Adaptation_ addresses the question of what the real, the primary, is, and its relation with that which is secondary -- with (...) the many interpretations, versions, understandings, adaptations. (shrink)

A phenomenological look on film editing through Merleau-Ponty’s ideas opens up a new way of seeing what editing is and how it affects the spectator. In the classical sense, editing is looked at technically where certain aspects of its use in the film’s language are interpreted and analyzed to understand why and how something is done. In this thesis, the aim is to not dwell on understanding the why and the how. The aim is to view film (...) editing from a different perspective that might lead to another type of thinking outside the limitations of empirical and intellectualist approaches. While the classical approach is able to satisfy most of what a spectator would need to understand, it falls short on what the spectator feels and experiences. In order to try to grasp how Merleau-Ponty’s phenomenological approach could be adapted to film editing. First we have to start from the beginning to see how editing came to be and what ideas, approaches and techniques it brought with it. As all the approaches have their own uses; we have to consider them as such and lay out what could be with Merleau-Ponty’s way and see how all the approaches compare in the end. Of course, this does not mean erasing all of film history and disregarding the classical way; it means that we can look at films from a perspective that the classical approach may not be able to see. (shrink)

A threat to humanity portending the end of our species lurks in the cold recesses of space. Our only hope is an eleven-year-old boy. Celebrating the long-awaited release of the movie adaptation of Orson Scott Card’s novel about highly trained child geniuses fighting a race of invading aliens, this collection of original essays probes key philosophical questions raised in the narrative, including the ethics of child soldiers, politics on the internet, and the morality of war and genocide. Original essays dissect (...) the diverse philosophical questions raised in Card’s best-selling sci-fi classic, winner of the Nebula and Hugo Awards and which has been translated in 29 languages Publication coincides with planned release of major motion picture adaptation of _Ender’s Game_ starring Asa Butterfield and Harrison Ford Treats a wealth of core contemporary issues in morality and ethics, including child soldiers, the best kind of education and the use and misuse of global communications for political purposes A stand-out addition to the Blackwell Philosophy and Pop Culture series. (shrink)

_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)

Since narratives of legitimation have to adapt to shifting discursive environments, they cannot be regarded as static phenomena. To present a sound understanding of their embedment in a specific context, narratives have to be approached from a variety of perspectives – they necessitate, in other words, a “thick description”. This paper addresses the narrative of antifascism as a central element of public discourse throughout the history of the German Democratic Republic and contextualizes it specifically in East German television culture. In (...) addition to providing an understanding of antifascism as an ideological signifier exclusively for historical phenomena, such as National Socialism or Italian fascism, this paper proposes to conceptualize the narrative of antifascism – as it was officially defined in the GDR/SBZ – as a discursive formation that encompasses various political narratives such as militarism and imperialism, as well as past and present political events. Based on this assumption, the highly successful espionage series Das unsichtbare Visier, which was produced by the DEFA and broadcasted by the East German state television, will be discussed in relation to its exploitation of the narrative of antifascism. By approaching these issues, it is the objective of this paper to examine the practices of the appropriation of the narrative of antifascism in an era that was marked by the development of popular television culture and, moreover, to contribute to the discussion of the dialectic between stability and flexibility that is inherent to narratives. (shrink)

In this essay I offer some suggestions for integrating film in an Ethics classes and reaching your goals in terms of learning and student outcomes. You can easily adapt them to other areas of Philosophy— not just Ethics. Starting with Aristotle’s Poetics as a tool for deconstructing movies, I set out five strategies for teaching Ethics through film: start with a film or ethical theory; start with a real-world case or an ethics code; then use any of (...) these four in combination to allow for a more in-depth analysis. Each strategy is discussed with example exercises to illustrate how this approach can create an engaging class while achieving your goals. (shrink)

From Inception to The Lake House, moviegoers are increasingly flocking to narratologically complex puzzle films. These puzzle movies borrow techniques--like fragmented spatio-temporal reality, time loops, unstable characters with split identities or unreliable narrators--more commonly attributed to art cinema and independent films. The essays in Hollywood Puzzle Films examine the appropriation of puzzle film techniques by contemporary Hollywood dramas and blockbusters through questions of narrative, time, and altered realities. Analyzing movies like Source Code, The Butterfly Effect, Donnie Darko, Déjà Vu, (...) and adaptations of Philip K. Dick, contributors explore the implications of Hollywood's new movie mind games. (shrink)

The essential companion to Stieg Larsson's bestselling trilogyand director David Fincher's 2011 film adaptation Stieg Larsson's bestselling Millennium Trilogy—The Girlwith the Dragon Tattoo, The Girl Who Played with Fire, andThe Girl Who Kicked the Hornet's Nest—is aninternational phenomenon. These books express Larsson's lifelongwar against injustice, his ethical beliefs, and his deep concernfor women's rights. The Girl with the Dragon Tattoo andPhilosophy probes the compelling philosophical issues behindthe entire trilogy. What philosophies do Lisbeth Salander and Kanthave in common? To catch (...) a criminal, can Lisbeth and Mikael becriminals themselves? Can revenge be ethical? Drawing on some ofhistory's greatest philosophical minds, this book gives freshinsights into Larsson's ingeniously plotted tale of crime andcorruption. Looks at compelling philosophical issues such as a feministreading of Lisbeth Salander, Aristotelian arguments for why we loverevenge, how Kant can explain why so many women sleep with MikaelBlomkvist, and many more Includes a chapter from a colleague of Larsson's—whoworked with him in anti-Nazi activities—that exploresLarsson's philosophical views on skepticism and quotes fromnever-before-seen correspondence with Larsson Offers new insights into the novels' key characters, includingLisbeth Salander and Mikael Blomkvist, and investigates the author,Stieg Larsson As engrossing as the quest to free Lisbeth Salander from herpast, The Girl with the Dragon Tattoo and Philosophy isideal reading for anyone interested in unraveling the subtext andexploring the greater issues at work in the story. (shrink)

Fontane Effi Briest by the German director Rainer Werner Fassbinder is arguably one of the greatest adaptations from literature to screen, and the best Effi Briest adaptation. Although the first reception of the movie, when it appeared in 1974, was not without unmixed reviews, most scholars nowadays share the conviction that it is a masterpiece. Elke Siegel defines the film as a success both at the Berlinale and at the box office. Kreft Wetzel, however, in an interview with (...) Fassbinder in 1974, refers to the ambivalent attitude of the critics abroad at the time of the movie‘s release, to which Fassbinder replies that Fontane‘s language is the foundation of the movie and, hence, the film works to its full extent only in German. Forty years after this interview and judging from the scholarly work carried out on Fassbinder in general and Fontane Effi Briest in particular, it is plausible to claim that Fassbinder‘s art has moved beyond the language barriers and appeals to an audience beyond the German culture and language. (shrink)

The COVID-19 pandemic disturbed the local film industry heavily since most of the film projects were delayed or cancelled. Despite the fragile situation, local filmmakers adopted flexible and adaptive strategies to survive. The flexible strategies related to fighting (the alternative jobs, project switch) and freezing (work from home). After three months, all film practitioners decided to fight for the new normal as they found job opportunities in social media content, corporate and government service, streaming platforms and (...) class='Hi'>film production. The screen industries supported the local filmmakers to survive. During the emergency period, the closed network was beneficial; nonetheless, they should expand their open network to adapt to a new normality. Apart from the resistance, filmmakers are continuously under precariousness, particularly about health threats and underpaid work. (shrink)

What exactly are comics? Can they be art, literature, or even pornography? How should we understand the characters, stories, and genres that shape them? Thinking about comics raises a bewildering range of questions about representation, narrative, and value. Philosophy of Comics is an introduction to these philosophical questions. In exploring the history and variety of the comics medium, Sam Cowling and Wesley D. Cray chart a path through the emerging field of the philosophy of comics. Drawing from a diverse range (...) of forms and genres and informed by case studies of classic comics such as Watchmen, Tales from the Crypt, and Fun Home, Cowling and Cray explore ethical, aesthetic, and ontological puzzles, including: -/- - What does it take to create-or destroy-a fictional character like Superman? - Can all comics be adapted into films, or are some comics impossible to adapt? - Is there really a genre of “superhero comics”? - When are comics obscene, pornographic, and why does it matter? -/- At a time of rapidly growing interest in graphic storytelling, this is an ideal introduction to the philosophy of comics and some of its most central and puzzling questions. (shrink)

Rewatching on the Point of the Cinematic Index offers a reassessment of the cinematic index as it sits at the intersection of film studies, trauma studies, and adaptation studies. Author Allen H. Redmon argues that far too often scholars imagine the cinematic index to be nothing more than an acknowledgment that the lens-based camera captures and brings to the screen a reality that existed before the camera. When cinema's indexicality is so narrowly defined, the entire nature of film (...) is called into question the moment film no longer relies on a lens-based camera. The presence of digital technologies seemingly strips cinema of its indexical standing. This volume pushes for a broader understanding of the cinematic index by returning to the early discussions of the index in film studies and the more recent discussions of the index in other digital arts. Bolstered by the insights these discussions can offer, the volume looks to replace what might be best deemed a diminished concept of the cinematic index with a series of more complex cinematic indices, the impoverished index, the indefinite index, the intertextual index, and the imaginative index. The central argument of this book is that these more complex indices encourage spectators to enter a process of ongoing adaptation of the reality they see on the screen, and that it is on the point of these indices that the most significant instances of rewatching movies occur. Examining such films as John Lee Hancock's Saving Mr. Banks (2013); Richard Linklater's oeuvre; Paul Greengrass's United 93 (2006); Oliver Stone's World Trade Center (2006); Stephen Daldry's Extremely Loud and Incredibly Close (2011); and Christopher Nolan's Dunkirk (2017), Inception (2010), and Memento (2000), Redmon demonstrates that the cinematic index invites spectators to enter a process of ongoing adaptation. (shrink)

_A philosophical exploration of J.R.R. Tolkien's beloved classic—just in time for the December 2012 release of Peter Jackson's new film adaptation, _The Hobbit: An Unexpected Journey__ J.R.R. Tolkien's _The Hobbit_ is one of the best-loved fantasy books of all time and the enchanting "prequel" to _The Lord of the Rings_. With the help of some of history's great philosophers, this book ponders a host of deep questions raised in this timeless tale, such as: Are adventures simply "nasty, disturbing, uncomfortable (...) things" that "make you late for dinner," or are they exciting and potentially life-changing events? What duties do friends have to one another? Should mercy be extended even to those who deserve to die? Gives you new insights into _The Hobbit_'s central characters, including Bilbo Baggins, Gandalf, Gollum, and Thorin and their exploits, from the Shire through Mirkwood to the Lonely Mountain Explores key questions about _The Hobbit_'s story and themes, including: Was the Arkenstone really Bilbo's to give? How should Smaug's treasure have been distributed? Did Thorin leave his "beautiful golden harp" at Bag-End when he headed out into the Wild? Draws on the insights of some of the world's deepest thinkers, from Confucius, Plato, and Aristotle to Immanuel Kant, William Blake, and contemporary American philosopher Thomas Nagel From the happy halls of Elrond's Last Homely House to Gollum's "slimy island of rock," this is a must read for longtime Tolkien fans as well as those discovering Bilbo Baggins and his adventures "there and back again" for the first time. (shrink)

This article analyzes the changes in The Handmaid’s Tale’s moral and political outlook as it tracks different forms of complexity in the novel, the film, and the TV series. While the sense of female empowerment increases with each adaptation of this tale of forced sexual servitude in fictional theocratic state of Gilead, the essay argues that Hulu’s TV series develops an intriguing interaction between the interiority of Margaret Atwood’s 1985 novel and the exteriority emphasized in Volker Schlöndorff’s 1990 (...) class='Hi'>film. In so doing, the TV series Escher-twists across related binaries between activity/passivity and personal/political actions as well. By expanding, displacing, and creatively intersecting storylines which the novel cut short, the series weaves an intricate perspectival web that invites the viewer to participate in its mind games. (shrink)

This collective book analyzes seriality as a major phenomenon increasingly connecting audiovisual narratives (cinematic films and television series) in the 20th and 21st centuries. The book historicizes and contextualizes the notion of seriality, combining narratological, aesthetic, industrial, philosophical, and political perspectives, showing how seriality as a paradigm informs media convergence and resides at the core of cinema and television history. By associating theoretical considerations and close readings of specific works, as well as diachronic and synchronic approaches, this volume offers a (...) complex panorama of issues related to seriality including audience engagement, intertextuality and transmediality, cultural legitimacy, authorship, and medium specificity in remakes, adaptations, sequels, and reboots. Written by a team of international scholars, this book highlights a diversity of methodologies that will be of interest to scholars and doctoral students across disciplinary areas such as media studies, film studies, literature, aesthetics, and cultural studies. It will also interest students attending classes on serial audiovisual narratives and will appeal to fans of the series it addresses, such as Fargo, Twin Peaks, The Hunger Games, Bates Motel, and Sherlock. (shrink)

In The Flesh of Images, Mauro Carbone analyzed Merleau-Ponty's interest in film as it relates to his aesthetic theory. Philosophy-Screens broadens the work undertaken in this earlier book, looking at the ideas of other twentieth-century thinkers concerning the relationship between philosophy and film, and also extending that analysis to address the wider proliferation of screens in the twenty-first century. In the first part of the book, Carbone examines the ways that Sartre, Merleau-Ponty, Lyotard, and Deleuze grappled with the (...) philosophical significance of cinema as a novel aesthetic medium unfolding in the twentieth century. He then considers the significance of this philosophical framework for understanding the digital revolution, in particular the extent to we are increasingly and comprehensively connected with screens. Smart phones, tablets, and computers have become a primary referential optical apparatus for everyday life in ways that influence the experience not only of seeing but also of thinking and desiring. Carbone's Philosophy-Screens follows Deleuze's call for "a philosophy-cinema" that can account for these fundamental changes in perception and aesthetic production, and adapts it to twenty-first century concerns. (shrink)

The preponderance of female stereotypes in various films has become intense. Regardless of film genre, its effect on media-saturated culture has become somehow profound. This has become a concern to many people especially to feminists. Hence, this film study is conducted to explore how the female lead characters are stereotyped in films particularly in select official James Bond 007 films. During the analysis, the researcher utilizes an adapted film analysis rubric. The results show that: 1) the leading (...) female characters in the three films analyzed are portrayed mainly as objects of Bond’s sexual desire while he establishes and maintains a chauvinistic role all throughout each film; 2) Bond engages in dualistic relationships with the lead female characters when he uses them to satisfy his own desires for a woman as a means to an end (as particularly exemplified and portrayed in the character of Countess Lisl in For Your Eyes Only); 3) the treatment of some female stereotypes in the three films analyzed is consistent, e.g. a particular stereotype of a lead female character as object of sexual desire is sustained all throughout the film. The study, therefore, concludes that the lead female characters in the select films are generally portrayed in oppressive stereotypes. Keywords: Mass Communication, lead female character, female stereotypes, James Bond007, descriptive design (qualitative film analysis), Philippines. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Implicit Soul of Charlie Kaufman's AdaptationDavid L. SmithI don't know what else there is to write about other than being human, or, more specifically, being this human. I have no alternative. Everything is about that, right? Unless it's about flowers.—Charlie Kaufman 1There are some things that cannot be observed directly, even in principle: a single quark, the present moment, ones own eye. What Richard Rodriquez calls the "one (...) subject" of literature—"What it feels like to be alive" 2 —is perhaps another one of those things. A writer struggles to be true to something central about life—to catch it on the fly, to get it right. Some have reified this "something" as "the soul" or "the human spirit." Today, though, we mainly rely on placeholders: "it," for example, as in "do you get it?" or "what's it all about?"—a usage that flirts with the vanishing "it" of "it is raining," implying a source or substance behind phenomena in which we do not really believe but without which we cannot do justice to experience. In any case, the writer's attempt to represent this elusive heart of things is typically frustrated, done in by the slipperiness of words, the cludginess of the conventions of communication, and the waywardness of the imagination. Writing inevitably falls short of its deepest aims.Nevertheless, there is something deviously affirmative in this state of affairs. For if life is a thing that refuses to be observed, then isn't the very failure of literature, if consciously acknowledged, a way of staying true to it? Isn't the writer's disappointment an especially telling feature of "what it feels like to be alive?" Emerson, more clearly than most, understood how this trick is turned: "We grant that human life is [End Page 424] mean; but how did we find out that it was mean? What is the ground of this uneasiness of ours; of this old discontent? What is the universal sense of want and ignorance, but the fine innuendo by which the soul makes its enormous claim?" 3 As noted above, "the soul" is a disposable term here. If you prefer, say simply "the human," "life," or "it." The point, in any case, is that the elusive subject which cannot be stated or represented directly may nevertheless be implied. If the human cannot be caught in a formula, it may be embodied or enacted in the ongoing work of creation.Charlie Kaufman's Adaptation is both an argument for and an example of this implicit realization of the human in art. Many viewers and even reviewers might see it as a poor candidate for humanistic interpretation along these lines. Most, in fact, have seen the film as little more than a clever postmodern puzzle-box, albeit one with great acting, deft direction, and a generous sense of humor. Its theme, after all, is the representation of representation. A book is being rewritten or adapted to become the film we are watching. The subject of that film is its own author's struggle to create it. The film further calls attention to its own artificiality by changing the rules of representation on us midway through. Its tone, style, and basic genre conventions shift when the author/protagonist begins to rethink his original purposes, undermining the credibility of all representational schemes in the process. Adaptation, in short, seems to be what the graduate-educated a decade ago might have felt comfortable calling "an endless play of simulacra," a text absorbed in its own textuality, a snake that eats its own tail. 4All of this is true enough, but it is not the whole story. The point of Adaptation, I will argue, is not simply the pleasure it takes in playing with issues of representation, but its clear sense of the human issues at stake in that play. Adaptation, that is, is not only about the way words tend to float free of the world. Rather, it is also a demonstration of the way a writer's basic goal can survive the wreck of her intentions, or the way that failed attempts to be true to life... (shrink)

Ever since it was first unleashed in 1818 the story of Victor Frankenstein and his reanimated, stitched-together corpse has inspired intense debate. Can organic life be reanimated using electricity or genetic manipulation? If so, could Frankenstein’s monster really teach itself to read and speak as Mary Shelley imagined? Do monsters have rights, or responsibilities to those who would as soon kill them? What is it about music that so affects Frankenstein’s monster, or any of us? What does Mel Brook’s Frau (...) Blucher say to contemporary eco-feminism? Why are some Frankenstein’s flops and others historic successes? Is there a true Frankenstein? Why are children, but not adults, drawn to Shelley’s monster? And what is a “monster,” anyway? Frankenstein and Philosophy calls 25 philosophers to stitch together these and other questions as they apply to history’s greatest horror franchise. Some chapters treat the Frankenstein films, others the original novel, and yet others the many comic books, novels, and modern adaptations. Together they pay tribute to perhaps the most enduring pop culture icon and the fundamental fears, hopes, and puzzles it raises. (shrink)

The study of film adaptations, particularly those coming from literature, has been growing at a rapid rate during the last years due to the amount of adaptations coming from both mainstream and independent film industries. The focus of these studies though is generally addressed to best sellers where the literary style is clearly adaptable to the screen; however, there are cases where the adaptive process has resulted in an entirely different outcome. Naked Lunch, written by William (...) Burroughs and adapted to screen by David Cronenberg, represents a bold change if compared with other novels turned into films. The purpose of this article is to descriptively analyse the literary style in order to understand how it has been represented and adapted into Cronenberg’s film. The analysis will be performed helped with computer-based tools to support statements, using the novel itself as corpus and adding theoretical ideas from Leech and Short’s perspectives. The results suggest that the author’s corrosive, sexually-fuelled claustrophobic style has been translated following three patterns in terms of adaptation theory, although Burroughs, in the hands of Cronenberg, becomes an almost new classification of adaptation, not only adding literary features to the film, but also distinguishable core moments of the writer’s life to the final product. The analysis conducted encourages the study of other uncommon adaptations from literary authors in order to understand the adaptive process followed by filmmakers. (shrink)

In his article “Notes on the Sight Gag” from 1991, the philosopher Noël Carroll proposed a taxonomy of sight gags that recur throughout the genre of comedian comedy in cinema. This article revisits and augments Carroll’s taxonomy by analyzing the sight gags found in the films of Jacques Tati. Tati worked in a very different context than that of the silent Hollywood filmmakers from whose comic films Carroll largely derives his categories. He began making films in the sound era, and (...) five of his six feature films were made in color. As a French filmmaker, he also sought to adapt the genre of comedian comedy in cinema to his culturally specific concerns. This article shows that he drew on at least three of the types of sight gag identified by Carroll. But he modified some of them and innovated several other kinds. (shrink)

‘Postmodern’ is a concept now deposited in the word banks of both highbrow cinephilesand lowbrow arbiters of popular filmic taste. How these two groups of critics deploy theterm, however, widely differs. Critiquing Wes Anderson’s The Life Aquatic with SteveZissou , for instance, Entertainment Weekly’s Owen Glieberman writes: ‘Once again,[Anderson] creates a hermetic, glassed-in movie world of postmodern anachronisms thatcharms and distances in equal measure’ . Characteristic of most reviewers of LifeAquatic, Glieberman uses ‘postmodern’ in a purely aesthetic sense. Although this (...) apoliticaluse of the term is endemic to the business of popular film criticism, part of the reasoncritics deployed ‘postmodern’ bereft of all cultural and political connotations in the case ofLife Aquatic can be chalked up to the film itself. Any overtly political meaning in the film ismediated by what Todd Gilchrist calls the film’s ‘fantastic, just-left-of-realityuniverse.’ Anderson’s idiosyncratic filmmaking style – his penchant for what Josh Bell calls‘empty collections of quirks’ and ‘irrelevant eccentricities’ which prize ‘false clevernessover story and content’ – exacerbates the problem of politicizing Life Aquatic’spostmodernism . A growing cult of the author begets the faciledismissal or deification of Life Aquatic based on tenuously apolitical criteria. (shrink)

_Jakob the Liar_ (1999) Director: Peter Kassovitz. Screenplay: Jurek Becker (adapted from his novel), Peter Kassovitz and Didier Decoin. Producers: Nick Gillott, Steven Haft, Robin Williams, Marsha Garces Williams. Cast: Alan Arkin, Bob Balaban, Zoltan Barabas, Michael Jeter, Liev Schreiber, Robin Williams.

Novels like Fight Club or American Psycho are said to be instances of unreliable narration: the first person narrator presents an evidently distorted picture of the fictional world. The film adaptations of these novels are likewise said to involve unreliable narration. I resist this extension of the term ‘unreliable narration’ to film. My argument for this rests on the observation that unreliable narration requires a personal narrator while film typically involves an impersonal narrator. The kind of (...) ambiguous story-telling that we find in literary fiction with unreliable narrators, where for certain descriptions it is unclear whether what we’re told is an accurate account of what’s happening in the story world or not, can instead be achieved by conventionalized filmmaking techniques for reporting the contents of mental states, like the point of view shot, but especially the more ambiguous blended perspective shot. (shrink)

This paper considers concepts of expectation and responsibility, and how these drive dialogic interactions between tutor and student in an age of marketised Higher Education. In thinking about such interactions in terms of different forms of exchange, the paper considers the philosophy of Martin Buber and Emmanuel Levinas on dialogic intersubjectivity, and an ethics of responsibility. This enables a richer understanding of the tutorial dialogue in particular, as both teaching and encounter. This has significant implications for education and for the (...) idea of the tutorial as a space for encounter with the other through language. The paper argues that the university tutorial, rather than being considered a place only for the meeting of expectations, might be envisioned as a space for encounter with the unexpected. In considering the nature of the educational encounter in relation to an example from the film adaptation of Alan Bennett’s ‘The History Boys’, the paper concludes that the tutorial opens up the possibility for a mutual encounter with otherness. This positions the tutorial as a space of educational otherness—a Foucauldian heterotopia which rejects the expectation-bound economy of exchange, and which offers instead the possibility of an education marked by an economy of excess. (shrink)

A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in film and how they (...) can come together. (shrink)

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

In Unreliability and Point of View in Filmic Narration, Emar Maier makes a distinction between reliable and unreliable narrators. The latter, Maier claims, must be a first-person narrator, as an impersonal, third-person narrator lacks an individual perspective that can be unreliable. He concludes that most film adaptations of unreliably narrated novels are not themselves unreliably narrated, for they feature third person perspectives. I take Maier’s major claims to be that there is a strict distinction between reliable and unreliable (...) narration; and that film shots displaying both a character and that character's hallucinations are not unreliable narration. I will challenge both. (shrink)

I argue for a position close to what Paisley Livingston calls the bold thesis of cinema as philosophy. The bold thesis I defend is that films can make innovative, independent philosophical contributions by paradigmatic cinematic means. I clarify the thesis before presenting what Livingston thinks is a fatal problem for any similar position—the problem of paraphrase. As an example in defense of the bold thesis, I offer the "For God and Country" sequence in Sergei Eisenstein’s October (1928). I argue that (...) this scene offers an analogical argument similar in form to what some think Nietzsche presents in the Genealogy of Morality. Moreover, I argue that the argument presented in October is independent, could have been innovative, and is presented via the paradigmatic cinematic means of montage. (shrink)

This article off ers a pioneering ecofeminist study of Viktor Ivchenko’s Lisova pisnia and Yurii Illienko’s Lisova pisnia. Mavka, two Soviet Ukrainian film adaptations of Lesia Ukrainka’s eponymous fairy-drama. It focuses on the interrelated depiction of gender and nature along with the drama’s ideological and material aspects: androcentrism and deforestation. The production of both fi lms coincides with, and arguably refl ects, what Marko Pavlyshyn describes as “the emergence of a conservationist consciousness” in the USSR in the 1960s. (...) The article’s goal is therefore twofold – to bring new ecofeminist insights into Ukrainian fi lm studies and to raise eco-awareness about the Volyn Polissia, which provides the setting for Ukrainka’s drama and its adaptations, and currently faces environmental devastation from illegal amber mining. (shrink)

Introduction -- Media and representation. On the one medium / Eric Gans -- The scapegoat mechanism and the media: beyond the folk devil paradigm / John O'Carroll -- The apocalypse will not be televised / Chris Fleming -- Film. Mirrors of nature: artificial agents in real life and virtual worlds / Paul Dumouchel -- Superheroes, scapegoats, and saviors: the problem of evil and the need for redemption / Joel Hodge -- Sanctified victimage on page and screen: The hunger games (...) as prophetic media / Debra E. Macdonald -- The mimetic e-motion: from The matrix to Avatar / Nidesh Lawtoo -- Apocalypse of the therapeutic: The cabin in the woods and the death of mimetic desire / Peter Y. Paik -- Eyes wide shut: mimesis and historical memory in Stanley Kubrick's The shining / David Humbert -- Against romantic love: mimeticism and satire in Woody Allen's Vicky, Cristina, Barcelona; you will meet a tall dark stranger; and To Rome with love / Scott Cowdell -- A beautiful crisis: Ang Lee's film adaptation of The ice storm / Carly Osborn -- Cowboy metaphysics, the virtuous-enough cowboy, and mimetic desire in Stephen Fears' The hi-lo country / Thomas Ryba -- Television. The self in crisis: watching Mad men and Homeland with Girard and Hegel / Paolo Diego Bubbio -- Media, murder, and memoir: Girardian baroque in Robert Drewe's The shark net / Rosamund Dalziell -- Conversion in Dexter / Matthew John Paul Tan and Joel Hodge. (shrink)

This paper examines the relationship between film and philosophy, especially in the light of Wittgenstein’s philosophy and his claim that a picture represents the world better than the language itself and that, in that sense, it has philosophical relevance. It starts with an often made comparison of film illustrating philosophy, film about philosophy or philosophers, and film as philosophy. While the first two types are not particularly philosophically relevant or theoretically challenging and therefore not considered to (...) be problematic, the third concept shows the opposite, and it is approached within Wittgenstein’s philosophy. Namely, it is necessary to show why film as motion picture would even be possible for Wittgenstein as philosophy, or more precisely, what it is exactly that enables the film to be like philosophy. To illustrate this, Wittgenstein’s philosophy is analysed, with an emphasis on the difference between the early and late phase of his work. Yet his two philosophical studies, paradigmatic for these phases, show a certain continuity in consideration of images. Foremostly, they supply the primary argument that image, and by extension film as a series of images, best represents the world, that is, that for Wittgenstein it stands as a two­dimensional model. Since it is possible to show that image for Wittgenstein does not depend on linguistic interpretation, it can be shown that film as philosophy is possible precisely but not exclusively from the angle of Wittgenstein’s philosophical work. This treats the image as an independent bearer of meaning, which ultimately results in understanding Wittgenstein’s philosophy as directly opposed to the Western philosophical tradition. Thus, one of the possible interpretations of film’s philosophical relevance is possible to find in Wittgenstein’s understanding of pictures. (shrink)