Introduction : time, film, and the ethical vision of Emmanuel Levinas. American transcendence : Levinas and a short history of an American idea in film -- Frank Capra and James Stewart : time, transcendence, and the other -- The changing face of American redemption : Henry Fonda, Marilyn Monroe, Paul Newman, and Denzel Washington -- Sex, art, and Oedipus : The unbearable lightness of being -- Fellini and La dolce vita : documentary, decadence, and desire -- Antonioni and L'avventura : (...) transcendence, the body, and the feminine. (shrink)

In Time, Existential Presence and the Cinematic Image, Sam B. Girgus relates Laura Mulvey's theory of 'delayed cinema' to ideas on time and the relationship to the other in the writings of Jean-Luc Nancy, Emmanuel Levinas and Julia Kristeva, among others. The sustained tension in film between, in Mulvey's phrase, 'stillness and the moving image' enacts a drama of existential emergence. The stillness of the framed image in relation to the moving image opens 'free' cinematic time and space for (...) a fresh engagement with crucial ethical and cultural issues. With close readings of films such as The Bicycle Thieves, Two Days, One Night, The Three Burials of Melquiades Estrada, The Revenant and The Age of Innocence, this book proposes a fresh approach to reading film in the context of emerging existential presence and the ethical imperative. (shrink)

In his philosophy of ethics and time, Emmanuel Levinas highlighted the tension that exists between the "ontological adventure" of immediate experience and the "ethical adventure" of redemptive relationships-associations in which absolute responsibility engenders a transcendence of being and self. In an original commingling of philosophy and cinema study, Sam B. Girgus applies Levinas's ethics to a variety of international films. His efforts point to a transnational pattern he terms the "cinema of redemption" that portrays the struggle to connect to (...) others in redeeming ways. Girgus not only reveals the power of these films to articulate the crisis between ontological identity and ethical subjectivity. He also locates time and ethics within the structure and content of film itself. Drawing on the work of Luce Irigaray, Tina Chanter, Kelly Oliver, and Ewa Ziarek, Girgus reconsiders Levinas and his relationship to film, engaging with a feminist focus on the sexualized female body. Girgus offers fresh readings of films from several decades and cultures, including Frank Capra's _Mr. Smith Goes to Washington_ (1939), Federico Fellini's _La dolce vita_ (1959), Michelangelo Antonioni's _L'avventura_ (1960), John Huston's _The Misfits_ (1961), and Philip Kaufman's _The Unbearable Lightness of Being_ (1988). (shrink)

From its beginning, film set forth a new scene for ethical and moral engagement. Formore than a century, film’s frame and image have opened fresh space for enactingethical and moral conflicts and dilemmas. To scholars and critics such as André Bazin, itbecame apparent that in film matters of aesthetics influence ethical and moral questions. As Dudley Andrew says: ‘In cinema, aesthetic issues leadimmediately to moral ones’ .Today, the connection between aesthetic and ethical issues in film acquires newmeaning from the relationship (...) between time and ethics as described so differently byGilles Deleuze, Paul Ricoeur, and Emmanuel Levinas. While only Deleuze directlyaddresses and discusses cinema, the work of all three on the relationship of time andethics to a variety of issues – movement, space, otherness, identity, selfhood, andnarrative – also pertains to and informs the interaction between aesthetic and ethicalissues in film. Indeed, Deleuze and Ricoeur contrive compelling theories, concepts, andoperations concerning time, movement and narrative that facilitate film’s participation inethical discourse. From a Levinasian perspective, their work provides tools and meansfor relating film and Levinasian ethical language to each other. Individually andcollectively, Deleuze, Ricoeur, and Levinas seek a discordant and disruptive temporalorder for re-engaging ethical and moral exigencies and investing new ideas and freshimagination in a revivified ethical debate. In this debate, aesthetic issues and ethicalissues in film continue the process of mutual regeneration. (shrink)

Fenomenología de la Vida Afectiva, une publication coordonnée par Celia Cabrera et Micaela Szeftel dans la collection dirigée par Jorge Roggero à la maison d’édition argentine Sb, part de la nécessité de penser phénoménologiquement l’affectivité : non seulement pour briser la limitation de l’affectif en philosophie comme quelque chose d’éventuel et de relégué dans l’obscurité de l’expérience, mais aussi pour s’intéresser radicalement au caractère fondamental du « fait » de l’affectivité qui t...

On September 22, 1998, California Governor Pete Wilson signed Senate Bill 1785 into law, dramatically affecting the entire California animal sheltering community. Dubbed the "Hayden law" by the animal protection community after the bill's sponsor, it represents the state of California's attempt to legislate a solution to both the companion animal overpopulation problem and the friction between the agencies trying to end it. The persistence of the bill's primary supporters, a Los Angeles veterinarian and a UCLA law school professor and (...) the overall lack of opposition to it helped SB 1785 sail through the California legislature. Because of the scope of the bill and the immense cost of implementation, its passage shocked many in the sheltering community. This case study highlights the consequences of legislation that was crafted based on worse case scenarios and over which there was little collaborative effort. It concludes with suggestions that might be useful to other states contemplating similar such legislation. (shrink)

Reseña Roggero, Jorge Luis ed. El fenómeno saturado. La excedencia de la donación en la fenomenología de Jean-Luc Marion. Buenos Aires: SB editorial, 2020.