_Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.

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

Designed for classroom use, this authoritative anthology presentskey selections from the best contemporary work in philosophy offilm. The featured essays have been specially chosen for theirclarity, philosophical depth, and consonance with the current movetowards cognitive film theory Eight sections with introductions cover topics such as thenature of film, film as art, documentary cinema, narration andemotion in film, film criticism, and film's relation to knowledgeand morality Issues addressed include the objectivity of documentary films,fear of movie monsters, and moral questions surrounding the (...) viewingof pornography Replete with examples and discussion of moving picturesthroughout. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary (...) value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

Bioethics at the Movies explores the ways in which popular films engage basic bioethical concepts and concerns. Twenty philosophically grounded essays use cinematic tools such as character and plot development, scene-setting, and narrative-framing to demonstrate a range of principles and topics in contemporary medical ethics. The first section plumbs popular and bioethical thought on birth, abortion, genetic selection, and personhood through several films, including The Cider House Rules, Citizen Ruth, Gattaca, and I, Robot. In the second section, the contributors examine (...) medical practice and troubling questions about the quality and commodification of life by way of Dirty Pretty Things, Eternal Sunshine of the Spotless Mind, and other movies. The third section's essays use Million Dollar Baby, Critical Care, Big Fish, and Soylent Green to show how the medical profession and society at large view issues related to aging, death, and dying. A final section makes use of Extreme Measures and select Spanish and Japanese films to discuss two foundational matters in bioethics: the role of theories and principles in medicine and the importance of cultural context in devising care. Structured to mirror bioethics and cinema classes, this innovative work includes end-of-chapter questions for further consideration and contributions from scholars from the United States, Canada, the United Kingdom, Israel, Spain, and Australia. Contributors: Robert Arp, Ph.D., Michael C. Brannigan, Ph.D., Matthew Burstein, Ph.D., Antonio Casado da Rocha, Ph.D., Stephen Coleman, Ph.D., Jason T. Eberl, Ph.D., Paul J. Ford, Ph.D., Helen Frowe, M.A., Colin Gavaghan, Ph.D., Richard Hanley, Ph.D., Nancy Hansen, Ph.D., Al-Yasha Ilhaam, Ph.D., Troy Jollimore, Ph.D., Amy Kind, Ph.D., Zana Marie Lutfiyya, Ph.D., Terrance McConnell, Ph.D., Andy Miah, Ph.D., Nathan Norbis, Ph.D., Kenneth Richman, Ph.D., Karen D. Schwartz, LL.B., M.A., Sandra Shapshay, Ph.D., Daniel Sperling, LL.M., S.J.D., Becky Cox White, R.N., Ph.D., Clark Wolf, Ph.D. (shrink)

The embodied cognition thesis claims that cognitive functions cannot be understood without making reference to the interactions between the brain, the body, and the environment. The meaning of abstract concepts is grounded in concrete experiences. This book is the first edited volume to explore the impact of the embodied cognition thesis on the scientific study of film. A team of scholars analyse the main aspects of film (narrative, style, music, sound, time, the viewer, emotion, perception, ethics, the frame, etc.) from (...) an embodied perspective. By combining insights from various disciplines such as cognitive film theory, conceptual metaphor theory, and cognitive neuroscience, they show how the process of meaning-making in film is embodied and how empathy and embodied simulation play a role in understanding the way in which the viewer interacts with the film. (shrink)

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

Human Being Human provides an original perspective on what it is to be a human being, the value of popular culture, the relationship between the individual and the collective and our assumptions about truth, reality and power. Written in a highly accessible style, this book is both intellectually and emotionally satisfying and will fascinate anyone interested in contemporary psychology, cultural studies, film and media, social history and psychotherapy."--Jacket.

The increasingly popular idea that cinematic fictions can "do" philosophy raises some difficult questions. Who is actually doing the philosophizing? Is it the philosophical commentator who reads general arguments or theories into the stories conveyed by a film? Could it be the film-maker, or a group of collaborating film-makers, who raise and try to answer philosophical questions with a film? Is there something about the experience of films that is especially suited to the stimulation of worthwhile philosophical reflections? In the (...) first part of this book, Paisley Livingston surveys positions and arguments surrounding the cinema's philosophical value. He raises criticisms of bold theses in this area and defends a moderate view of film's possible contributions to philosophy. In the second part of the book he defends an intentionalist approach that focuses on the film-makers' philosophical background assumptions, sources, and aims. Livingston outlines intentionalist interpretative principles as well as an account of authorship in cinema. The third part of the book exemplifies this intentionalist approach with reference to the work of Ingmar Bergman. Livingston explores the connection between Bergman's work and the Swedish director's primary philosophical source-a treatise in philosophical psychology authored by the Finnish philosopher, Eino Kaila. Bergman proclaimed that reading this book was a tremendous philosophical experience for him and that he "built on this ground." With reference to materials in the newly created Ingmar Bergman archive, Livingston shows how Bergman took up Kaila's topics in his cinematic explorations of motivated irrationality, inauthenticity, and the problem of self-knowledge. (shrink)

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

This guide accompanies the following article(s): Paisley Livingston, ‘Recent Work on Cinema as Philosophy’, Philosophy Compass 3/4 (2008): 509–603, doi: 10.1111/j.1747‐9991.2008.00158.x Author’s Introduction The idea that films can be philosophical, or in some sense ‘do’ philosophy, has recently found a number of prominent proponents. What is at stake here is generally more than the tepid claim that some documentaries about philosophy and related topics convey philosophically relevant content. Instead, the contention is that cinematic fictions, including popular movies such as The (...) Matrix, make significant contributions to philosophy. Various more specific claims are linked to this basic idea. One, relatively weak, but pedagogically important observation is that some films can be used to provide philosophy students with vivid and thought‐provoking illustrations of philosophical issues. Film screenings stimulate discussion and may motivate renewed engagement with difficult philosophical texts. A stronger contention, however, seeks to link innovative and philosophically valuable thinking to ‘the film itself’ or to the ‘specificity of the cinematic medium’. Such claims raise interesting questions, including questions about the status of the increasingly prevalent philosophically motivated interpretations of particular movies. Who is actually doing the philosophizing in such cases? Is it the audio‐visual display, the film‐maker, or the philosopher who devises an interpretation of the work? What is the role of specifically cinematic devices in the philosophical points made in such interpretations? Is there any tension between the goal of appreciating a film as a work of art and the goal of arguing that a film has significant implications for a position on a problem in philosophy? A course in the general area of cinema as philosophy can focus on issues related to the locus and status of cinematic philosophizing. It can also delve into specific films and film‐makers and philosophically oriented interpretations of specific philosophical topics, such as personal identity. Issues pertaining to interpretation, meaning, and authorship can be usefully investigated in this connection, as can topics in meta‐philosophy related to the very nature of philosophical insight or knowledge. Author Recommends Carroll, Noël and Jinhee Choi, eds. 2008. The Philosophy of Film and Motion Pictures: An Anthology, Part VIII: Film and Knowledge. Malden, MA: Blackwell. 381–405. Inclues a brief introduction by Carroll followed by papers by Bruce Russell, Karen Hanson, and Lester H. Hunt. Kania, Andrew, ed. 2009. Memento. London: Routledge. A number of philosophers elucidate philosophical themes in Memento and discuss more general issues pertaining to cinema’s philosophical significance. Livingston, Paisley. 2009. Cinema, Philosophy, Bergman: On Film as Philosophy. Oxford: Oxford University Press. Part 1 surveys arguments surrounding the cinema as philosophy theme, providing detailed criticisms of some of the bold theses in this area. Part 2 discusses issues related to cinematic authorship and the status of philosophically motivated interpretations of works of fiction, arguing for a partial intentionalist account of a work’s meanings. Part 3 illustrates the intentionalist principles in a discussion of Ingmar Bergman’s philosophical sources, providing insight into themes of motivated irrationality, inauthenticity, and self‐knowledge in some of Bergman’s works. Livingston, Paisley and Carl Plantinga, eds. 2009. The Routledge Companion to Philosophy and Film, Part IV: Film as Philosophy. London: Routledge. 547–659. Offers a succinct survey by Wartenberg as well as entries on Ingmar Bergman, Terrence Malick, and Andrei Tarkovsky, discussions of film and specific philosophical topics (morality, skepticism, personal identity, and practical wisdom), and examples of philosophically motivated interpretations of three specific films: The Five Obstructions, Gattaca, and Memento. Smith, Murray and Thomas E. Wartenberg, eds. 2006. Thinking Through Cinema: Film as Philosophy. Malden, MA: Blackwell. A collection of papers that combines essays devoted to general positions on the cinema as philosophy topic as well as specific interpretations of works in different genres. Turvey, Malcolm. 2008. Doubting Vision: Film and the Revelationist Tradition. Oxford: Oxford University Press. A probing critical investigation into the assumptions underlying influential philosophical claims about the epistemic value of cinema. Wartenberg, Thomas E. 2008. Thinking on Screen: Film as Philosophy. London: Routledge. Ably surveys and responds to arguments against the idea that films can ‘do philosophy’. It defends a conditionalist form of intentionalism in response to the ‘imposition objection’ according to which it is only the commentator who reads philosophical themes ‘into’ the movie; illustrates the favored account of film as philosophy with interpretations of specific cinematic fictions. Online Materials Film‐Philosophy Founded in 1996, this peer‐reviewed online journal is dedicated to philosophically oriented interpretations of films and cinema studies more generally. The e‐mail salon encourages discussion of related topics. Includes essays, festival reports, calls for papers, conference and job information, and book reviews. The archive includes contributions from 1997 to the present. Wartenberg, Thomas E. ‘Philosophy of Film.’The Stanford Encyclopedia of Philosophy; A brief survey of a range of issues in the philosophy of cinema including a few paragraphs on the film as philosophy topic. Philosophical Films A briefly annotated list of philosophical films grouped in rubrics such as ‘The Meaning of Life’ and ‘Environmental Ethics’. Sample Syllabus What follows is a 4‐week ‘start‐up module’ followed by samples of optional units that focus on particular topics and cinematic examples. Introductory Module Week I: Introduction & Overview Livingston, Paisley. ‘Recent Work on Cinema as Philosophy.’Philosophy Compass 3 (2008): 1–14, 20 (DOI: 10.1111/j.1747‐9991.2008.00158.x). Wartenberg, Thomas E. 2009. ‘Film as Philosophy.’The Routledge Companion to Philosophy and Film. Ed. Paisley Livingston and Carl Plantinga. London: Routledge. 549–59. Russell, Bruce. 2008. ‘The Philosophical Limits of Film.’The Philosophy of Film and Motion Pictures: An Anthology. Ed. Noël Carroll and Jinhee Choi. Malden, MA: Blackwell. 387–390. Week II: The Bold Thesis on Film as Philosophy Reading: Livingston, Paisley, ‘Theses on Cinema as Philosophy.’Cinema, Philosophy, Bergman, Chapter One. 11–38. Screening: October (dir. Sergei Eisenstein 1928). Week III: Debating the Bold Thesis: The Case of October Carroll, Noël. 1998. ‘For God and Country.’Interpreting the Moving Image. Cambridge: Cambridge University Press. 80–91. Smuts, Aaron. 2009. ‘Film as Philosophy: In Defense of a Bold Thesis.’Journal of Aesthetics and Art Criticism, 67:4: 409–20. Week IV: Cinema as Philosophy: Objections and Replies Livingston, Paisley. 2009. ‘Arguing over Cinema as Philosophy.’Cinema, Philosophy, Bergman, Chapter Two. 39–59. Additional Optional Units Depending on the instructor’s areas of interest and expertise, any of the following units could be added (and in some cases, easily expanded into longer segments). The Case of Ingmar Bergman Livingston, Paisley. 2009. ‘Ingmar Bergman.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 560–568. Screening(s): Wild Strawberries (dir. Ingmar Bergman 1957), or The Seventh Seal (dir. Ingmar Bergman 1957), or Persona (dir. Ingmar Bergman 1966). Skepticism Fumerton, Richard. 2009. ‘Skepticism.’ In The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 601–10. Screening: The Matrix (dir. Andy and Larry Wachowski 1999) or Total Recall (dir. Paul Verhoeven 1990). Ethics Kupfer, Joseph. 1999. Visions of Virtue in Popular Film. Boulder, CO: Westview. 35–60. Falzon, Chris. 2009. ‘Why be Moral?’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 591–599. Screening: Groundhog Day (dir. Harold Ramis 1993), or Crimes and Misdemeanors (dir. Woody Allen 1989), or Hollow Man (dir. Paul Verhoeven 2000). Personal Identity Knight, Deborah. 2009. ‘Personal Identity.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 611–619. Hanley, Richard. 2009. ‘Memento and Personal Identity: Are We Getting it Backwards?’Memento. Ed. Andrew Kania. London: Routledge. 107–126. Martin, Raymond. 2009. ‘The Value of Memory: Reflections on Memento.’Memento. Ed. Andrew Kania. London: Routledge. 87–106. Screening: Memento (dir. Christopher Nolan 2000). Freedom and (Genetic) Determinism Sesardic, Neven. 2009. ‘Gattaca.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 641–649. Screening: Gattaca (dir. Andrew Niccol 1997). Focus Questions • Is there anything special about the experience of fiction films that is especially well suited to the stimulation of worthwhile philosophical reflection? • Have any novel and philosophically significant ideas found their first expression in a cinematic work? • Under what circumstances can the film medium be used as an expression of a cinematic author’s views? • What sort of background knowledge has to be in place for a film to be interpreted as articulating reasonably precise philosophical theses and arguments? • Does the goal of spelling out a film’s philosophical meaning sometimes conflict with the goal of appreciating its value as a work of art? (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

pt. II. Observation and recall as a function of age.--pt. III. Fidelity of report as a measure of adult intelligence.--pt. IV. The technique of mental-test surveys among adults.

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

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

This volume of new essays energizes a growing movement in film theory which questions and seeks to overturn many of the assumptions that have governed film theory for the last twenty years. The book brings together film scholars and philosophers in a united commitment to the standards of argumentation that characterize analytic philosophy rather than a single doctrinal approach. The essays address such topics as authorship, emotion, ideology, representation, and expression in film.

In lieu of an abstract, here is a brief excerpt of the content:DEAD MAN WALKING: ON THE CINEMATIC TREATMENT OF LICENSED PUBLIC KILLING Edmund Arens University ofLucerne I regret that so many people do not understand, but I know that they have not watched the state imitate the violence they so abhor. (Sister Helen Prejean) ~T\eadMan Walking, thehighlyacclaimed second film directed by Tim -Z-^Robbins, seems appropriate for discussion in the symposium's context oíFilm andModernity: Violence, Sacrifice andReligion. This film on the (...) one hand thematizes different forms ofviolence and victimization; on the other hand it presents divergent forms ofreligion. And it does so in a way which not only demonstrates the interplay of violence and religion but also opens up the chance of transcending various kinds of sacrificial structures inhabiting that interplay. We can approach DeadMan Walking in five steps. After some general remarks about this film as a work of art, I will briefly review the story line. In the part called Themes and Topics, I will outline some of the predominant topics addressed in this movie. The fourth step is devoted to the interrelation of Violence, Victimization and Redemption. Finally, the religious or theological question comes into view under the heading of Proximity and Testimony, an aspect which at the same time has a definite link to law and the legal system. I. DeadMan Walking as a Work of Art According to Susan Sontag, film "currently is the most vivid, the most stimulating, and the most important of all genres of art" (Sontag 13). But Edmund Arens15 whether a particular film really can be considered as a work of art depends on a number of presuppositions, a few of which I shall mention here. Without going too deeply into the debate on the nature and purpose of aesthetic production, there are at least some requirements which point to a work ofart. Roughly speaking, it is defined by putting matter and form into a certain relation, by creating or producing a certain structure, by adopting a certain style and by organizing the material by means ofgenres (all ofwhich relates to the classical notion of poesis). Secondly, a work of art deals with perception in a double way: while it implies a certain perception ofreality, it also invites the audience to participate in this perception and thus to deepen, alter, or correct the perception that they experienced (something which relates to aisthesis). Thirdly, art aims at having certain emotional effects on the public that are either purifying or edifying (something which since Aristotle has been discussed as katharsis). Ifthese three dimensions (cf. Jauss; Siller) are always involved in works ofart, we can ask how in DeadMan Walking the interplay ofpoesis, aisthesis, and katharsis is at work. Under certain conditions a film is a creative work ofart. In this case, the motion picture, whether documentary or fictitious, includes an aesthetic creation of an imagined reality. It does not simply mirror reality but always reconstructs or reshapes it. In fictional film narrative, everyday reality is disrupted and rearranged by means of a variety of formal and material techniques. The treatment of reality necessarily involves the question of representation. What Paul Ricoeur considered as decisive for narrative fiction, applies to narrative fiction films as well: they make use of "calculated dissonance" which disrupts everyday reality and thereby points to a "redescription ofreality" (Ricoeur 1975; 1976; 1986). We shall see later on how this process, attributed especially to certain metaphors, works in the case ofDeadMan Walking. Besides the topic ofrepresentation, any kind of art raises the question of perception. Art implies a certain perception and at the same time it offers or invites—in the case of visual art—the audience to perceive reality in a different or deeper manner. In amovie the audience, whether by a manipulative "aesthetics of overwhelming"1 or by an aesthetics of disclosing, is moved emotionally and imaginatively, the aim being to direct their attention to the secret ofthe things shown and thus to direct or redirect their view ofreality. From the point of view of a pragmatic theory of action (cf. Arens 1994; 1997b) which additionally takes up Ricoeur's most important insights, I would 'The term has been coined by Heiner Müller; quoted from Kirsner... (shrink)

A selection of essays written by one of the leading critics of film over the last two decades, this volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding a new (...) approach. (shrink)

The Matrix trilogy is unique among recent popular films in that it is constructed around important philosophical questions--classic questions which have fascinated philosophers and other thinkers for thousands of years. Editor Christopher Grau here presents a collection of new, intriguing essays about some of the powerful and ancient questions broached by The Matrix and its sequels, written by some of the most prominent and reputable philosophers working today. They provide intelligent, accessible, and thought-provoking examinations of the philosophical issues that support (...) the films. Philosophers Explore The Matrix includes an introduction that surveys the use of philosophical ideas in the film. Topics that the contributors tackle include: how a collaborative dream could differ from hallucination, the difference between the Matrix and the "real" world; why living in the Matrix would be considered "bad"; the similarities between the Matrix and Plato's Cave; the moral status of artificially created beings, whether one can behave immorally in illusory circumstances, and the true nature of free will and responsibility. This volume also includes an appendix of classic philosophical writing on these issues by Plato, Berkeley, Descartes, Putnam, and Nozick. Philosophers Explore The Matrix will fascinate any fan of the films who wants to delve deeper into their themes, as well as any student of philosophy who desires an accessible entry into this challenging and profoundly vital world of ideas. (shrink)

_The Routledge Companion to Philosophy and Film_ is the first comprehensive volume to explore the main themes, topics, thinkers and issues in philosophy and film. The _Companion_ features sixty specially commissioned chapters from international scholars and is divided into four clear parts: • issues and concepts • authors and trends • genres • film as philosophy. Part one is a comprehensive section examining key concepts, including chapters on acting, censorship, character, depiction, ethics, genre, interpretation, narrative, reception and spectatorship and style. (...) Part two covers authors and scholars of film and significant theories Part three examines genres such as documentary, experimental cinema, horror, comedy and tragedy. Part four includes chapters on key directors such as Tarkovsky, Bergman and Terrence Malick and on particular films including _Memento_. Each chapter includes a section of annotated further reading and is cross-referenced to related entries. _The Routledge Companion to Philosophy and Film_ is essential reading for anyone interested in philosophy of film, aesthetics and film and cinema studies. (shrink)

This is the first collection of critical essays on the film work of the philosopher Jacques Rancière. Rancière rose to prominence as a radical egalitarian philosopher, political theorist and historian. Recently he has intervened into the discourses of film theory and film studies, publishing controversial and challenging works on these topics. This book offers an exciting range of responses to and assessments of his contributions to film studies and includes an afterword response to the essays by Rancière himself.

New Takes in Film-Philosophy offers a space for the advancement of the film-philosophy debate by some of its major figures. Fifteen leading academics from Philosophy and Film Studies develop new approaches to film-philosophy, broaden theoretical analyses of the topic and map out problems and possibilities for its future. The collection examines theoretical issues about the relationship between film and philosophy; looks at the relationships film-philosophy has to other media such as photography and literature; and applies theoretical approaches to particular films (...) and directors. Written in a clear style that assumes no previous knowledge of any particular philosopher, this collection will appeal to advanced students and scholars in philosophy, film studies, cultural studies, media studies and the arts. _. (shrink)

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

"The main spine of this book stems from a comprehensive series of interviews with subjects recalling their experiences of 1930s cinemagoing. Your feel the breath of life in these spectators, a rarity in film studies, thanks to the painstaking work contracting the interview subjects and recording and tabulating their testimony."- JUMPCUT In the 1930s, Britain had the highest annual per capita cinema attendance in the world, far surpassing ballroom dancing as the nation's favorite pastime. It was, as historian A.J.P. Taylor (...) said, the "essential social habit of the age." And yet, although we know something about the demographics of British cinemagoers, we know almost nothing of their experience of film, how film affected them, how it fit into their daily lives, what role cinema played in the larger culture of the time, and in what ways cinemagoing shaped the generation that came of age in the 1930s. In Dreaming of Fred and Ginger , Annette Kuhn draws upon contemporary publications, extensive interviews with cinemagoers themselves, and readings of selected film, to produce a provocative and perspective-altering ethno-historical study. Taking cinemagoers' accounts of their own experiences as both "the engine and product of investigation," Kuhn enters imaginatively into the world of 1930s cinema culture and analyzes its place in popular memory. Among the topics she examines are the physical space of the cinemas; the role film played in growing up; the experience of being a member of a cinema audience; film-inspired fantasies of American life; the importance of cinema to adolescence in offering role models, ideals of romance, as well as practical opportunities for courtship; and the sheer pleasure of watching such film stars as Fred Astaire, Ginger Rogers, Nelson Eddy, Ronald Colman, and many others. Engagingly written and painstakingly researched, with contributions to film history, cultural studies, and social history, Dreaming of Fred and Ginger offers an illuminating account of a key moment in British cultural memory. (shrink)

Just Images: Ethics and the Cinematic charts current developments within the field of ethics and the role it plays in the study of moving images. It is the first collection of essays of its kind that brings together articles by film and media scholars from three continents, and provides multiple points of engagement of film with present and past histories, politics, myth making, and with core aspects of human subjectivity. The essays cover a wide range of topics, such as the (...) European Union; Europe during World War II and after; film genres; the Israeli-Palestinian conflict; early American history, and recent catastrophic events. The collection includes an introductory chapter by Thomas Elsaesser as well as chapters by Kristian Feigelson, Règine-Mihal Friedman, Nurith Gertz and Gal Hermoni, Anton Kaes, Gertrud Koch, Odeya Kohen-Raz, Lihi Nagler, Judd Ne'eman, Bill Nichols, and Janet Walker. The contributors offer different approaches to the issue of film and ethics and ask whether there are specific characteristics of the moving image, or of film scholarship, that relate to ethical issues; and how discussing the engagement of both narrative and documentary film with representations of the Other, trauma, terrorism, the Holocaust, and the Palestinian-Israeli conflict may contribute to the re-shaping of past and current thoughts on these subjects. (shrink)

Some of the world’s best-loved films can be used as springboards for examining enduring philosophical questions. _Philosophy Through Film_ provides guidance in how to watch films with an eye for their philosophical content, helping students become familiar with key topics in all of the major areas in Western philosophy, and helping them master the techniques of philosophical argumentation. The perfect size and scope for a first course in philosophy, _Philosophy Through Film_ assumes no prior knowledge of philosophy. It is an (...) excellent teaching resource and learning tool, introducing students to key topics and figures in philosophy through thematic chapters, each of which is linked to one or more "focus films" that illustrate a philosophical problem or topic. Revised and expanded, the Second Edition features a new chapter on political philosophy, an introductory chapter explaining how to watch films philosophically, an appendix with primary readings, and the addition of five new focus films. Films examined in depth include: _The Matrix_ _Vanilla Sky_ _Hilary and Jackie_ _Memento_ _I, Robot_ _Minority Report_ _Crimes and Misdemeanors_ _Antz_ _Equilibrium_ _The Seventh Seal_ _The Rapture_ _Leaving Las Vegas_. (shrink)

Cinematic Thoughts: Essays on Film and the Philosophy of Film is an anthology of essays Gary Jason published (mainly) between 2012 and 2018. The book has seven parts. Part One consists of essays on propaganda films. The topics include how the Nazi Regime used film as a tool of propaganda, and its use of radio for propaganda. Part Two contains articles on genocide and film. These include two broad surveys of Holocaust documentaries, ranging from those that were done at the (...) end of WWII to Claude Lanzmann’s work. Also included are pieces reviewing the five major propaganda films the Nazi Regime produced aimed at arousing anti-Semitism in the populace leading up to the Holocaust. Part Three of the anthology concerns ethical theory as explored in film. Included here are three essays surveying how egoism is portrayed in classic movies, as well as one showing how Rossian ethical theory can be used to analyze conflicts of loyalty in classic war movies, and pieces illustrating virtue ethics. Part Four includes various articles on the history of cinema. One of the topics raised was whether the American film industry produced better films under the old, allegedly "monopolistic" studio system. Part Five of the anthology contains articles on the aesthetics of film. The topics here include how creativity can be portrayed in film, and why some great actors never win Oscars. Part Six contains pieces on classical liberalism in film, and Part Seven has miscellaneous articles on topics ranging from artists to criminals. (shrink)

Film, Philosophy, and Reality: Ancient Greece to Godard is an original contribution to film-philosophy that shows how thinking about movies can lead us into a richer appreciation and understanding of both reality and the nature of human experience. Focused on the question of the relationship between how things seem to us and how they really are, it is at once an introduction to philosophy through film and an introduction to film through philosophy. The book is divided into three parts. The (...) first is an introduction to philosophy and film, designed for the reader with little background in one or the other subject. The second examines the philosophical importance of the distinction between appearance and reality, and shows that reflection upon this distinction is naturally provoked by the experience of watching movies. The final part takes a close and careful look at the style and techniques of Jean-Luc Godard's groundbreaking film Breathless in order to illustrate how such themes can be explored cinematically. The book addresses topics such as: Film: what it is and how to understand it The methods and concerns of philosophy The nature of cinematic appearances The history of metaphysics The relationship between cinema and life The philosophical relevance of film techniques. With a glossary of key thinkers, terms, and concepts, as well as sections on suggested films and further reading, this textbook will appeal to lecturers and students in undergraduate philosophy and film courses, and in courses focused on Philosophy of Film, Philosophy and Film, or Film-Philosophy. (shrink)

This chapter surveys foundational concepts in the history of phenomenology for the purpose of highlighting their relevance for key contemporary issues in the philosophy of film. A central argument concerns phenomenology’s capacity for unraveling the ontology of film, given phenomenology’s emphasis on accounting for the ontology of phenomena through description based in first-person experience. On this ground, the chapter defends the claim that film’s ontology stems from the projective intentionality of the film viewer, where the communicative nature of embodied vision (...) also figures into play. The principal phenomenological frameworks taken up are those of Edmund Husserl, Martin Heidegger, and Maurice Merleau-Ponty, as well as the work of contemporary film scholar Vivian Sobchack. (shrink)

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

While Woody Allen is generally considered to be a master of the comic genre he created, his serious films are very important in understanding his role as one of this generation's more influential filmmakers. In this work such Allen films as Annie Hall (1977), Broadway Danny Rose (1984), Crimes and Misdemeanors (1989) and Mighty Aphrodite (1995) are analyzed for the common philosophical themes they share. Gender issues, Allen's love-hate relationship with God, narcissism and moral relativism, and the use of the (...) so-called existential dilemma are among the topics discussed. The extensive research is augmented with a rare interview with Allen. (shrink)

Performing Difference is a compilation of seventeen essays from some of the leading scholars in history, criticism, film, and theater studies. Each author examines the portrayal of groups and individuals that have been traditionally marginalized or excluded from dominant historical narratives. As a meeting point of several fields of study, this book is organized around three meta-themes: race, gender, and genocide. Included are analyses of films and theatrical productions from the United States, as well as essays on cinema from Southern (...) and Central America, Europe, and the Middle East. Topically, the contributing authors write about the depiction of race, ethnicities, gender and sexual orientation, and genocides. This volume assesses how the performing arts have aided in the social construction of the "other" in differing contexts. Its fundamental premise is that performance is powerful, and its unifying thesis is that the arts remain a major forum for advancing a more nuanced and humane vision of social outcasts, not only in the realm of national imaginations, but in social relations as well."--Jacket. (shrink)

Movies tell stories. Thrilling are especially those situations, when people have to make ethical decisions. Issues of medical ethics crop up not only in hospital series, but often in genres where this subject is hardly to be supposed: comedies, westerns, love stories and gangster movies. Enacting these conflicts means offering a solution, and in doing so films refer to moral values and – at the same time – function as seismographs for the social relevance of bioethical topics. But it is (...) possible that ethical principles of good decision-making fall victims to the drama of the story. Analysis of the portrayed conflict is similar to a case discussion in bioethics and represents a helpful adjunct to the procurement of analytical and communicative competences. (shrink)

Narrative is everywhere and has unique powers: to enchant and inspire, to make sense of our lives and ourselves and to afford us an enriched understanding of alternative worlds and lives and of better futures - though narrative also has the potential to coerce and oppress. Narrative is at the centre at all stages of the English curriculum and has been the subject of a burgeoning critical industry. This timely volume addresses the many ways in which recent thinking has informed (...) the teaching of narrative in university classrooms in the UK and the USA. Distinguished teachers from both countries range widely across narrative topics and genres, including the opportunities opened up by new technologies, and chapters articulate students' own individual and collaborative experiences in the teaching/learning process. The result is a volume that explores the pleasurable challenges of working with students to help them appreciate and assess the power that narrative exerts, to become reflective critics of its inner workings as well as exponents of narrative themselves. (shrink)

The first comprehensive presentation of the dynamical approach to cognition. It contains a representative sampling of original, current research on topics such as perception, motor control, speech and language, decision making, and development.

Does it take faith to be a Jedi? Are droids capable of thought? Should Jar Jar Binks be held responsible for the rise of the Empire? Presenting entirely new essays, no aspect of the myth and magic of George Lucas’s creation is left philosophically unexamined in The Ultimate Star Wars and Philosophy. The editors of the original Star Wars and Philosophy strike back in this Ultimate volume that encompasses the complete Star Wars universe Presents the most far-reaching examination of the (...) philosophy behind Star Wars – includes coverage of the entire film catalogue to date as well as the Expanded Universe of novels, comics, television series, games and toys Provides serious explorations into the deeper meaning of George Lucas’s philosophically rich creation Topics explored include the moral code of bounty-hunter favourite Boba Fett, Stoicism and the Jedi Order, the nature of the Dark Side, Anakin and Achilles in a nihilism face-off, feminism and being chained to a giant slug, cloning, de-extinction, fatherhood, Wookiees, loyalty, betrayal, guardians, republics, tyrants, terrorism, civic duty, friendship, family, and more! Publishing in time for the global release of Star Wars Episode VII: The Force Awakens on December 18, 2015 – hotly anticipated to become the first film to top $3 billion in worldwide box office sales. (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)

While some film theorists and philosophers have seen motion as a necessary element of cinema, this view is challenged by a body of avant-garde films which offer little or no movement. These experiments—by film-makers such as Andy Warhol, Larry Gottheim, and Michael Snow—challenge essentialist definitions of film, while simultaneously foregrounding the crucial role played by duration in cinema’s ontology.

This is a philosophical study by Lithuanian authors on issues related to how to teach philosophy, especially moral philosophy, through films, paintings, images, etc. The topics include multimodality as a synthesis; semiotics and language and image; cinema and philosophical education; postructuralism; film education; value education through spiritual cinema; Eastern Ethics for Western students through multimodal education; philosophy for children; sound and multimodality; Pedagogy of aesthetic to eco-pedagogy, etc.

This edited book considers the need for the continued dismantling of conceptual and cultural hegemonies of 'East' and 'West' in the humanities and social sciences. Cutting across a wide range of literature, film and art from different contexts and ages, this collection seeks out the interpenetrating dynamic between both terms. Highlighting the inherent instability of East and West as oppositional categories, it focuses on the 'crossings' between East and West and this nexus as a highly-charged arena of encounter and collision. (...) Drawing from varied literary contexts ranging from Victorian literature to Chinese literature and modern European literature, the book covers a diverse range of subject matter, including material drawn from psychoanalytic and postcolonial theory and studies related to race, religion, diaspora, and gender, and investigates topical social and political issues -including terrorism, nationalism, citizenship, the refugee crisis, xenophobia and otherness. Offering a framework to consider the salient questions of cultural, ideological and geographical change in our societies, this book is a key read for those working within world literary studies. (shrink)

The book analyses a variety of topics and current issues in linguistics and literary studies, focusing especially on such aspects as memory, identity and cognition. Firstly, it discusses the notion of memory and the idea of reimagining, as well as coming to terms with the past. Secondly, it studies the relationship between perception, cognition and language use. It then investigates a variety of practices of language users, language learners and translators, such as the use of borrowings from hip-hop and slang. (...) The book is intended for researchers in the fields of linguistics and literary studies, lecturers teaching undergraduate and master's students on courses in language and literature. (shrink)

Rethinking “philosophy” to-day, it is necessary to think first of all about ontological foundations of the modern scientific universe description and rethink them on the ground of modern scientific knowledge, because until now there is no any precise scientific conception of the structure of the universe, of reasons and movingforces of its permanent evolution. All of it create basis to propose various unscientific ideas of creationism. Until now most of philosophers associate the motion of Matter on the whole only (...) with its motion in space and in time, mixing philosophical and physical aspects of these two principle categories. Generally speaking, the present-day ontological model of understanding the World, the Universe is constructed purely on the basis of only these two fundamental categories. However, a more deep reflection of the essence of Being, if to realize it on the basis of only these two global categories, brings us to the disappointing conclusion, that in this case we have nothing more except a mechanical motion, i.e. spatial displacement of a material point (or a system of points) relatively some point of counting off. To make it normal and logic we should add to the ontological model one more essential part – the motion in quality. So, in order to create the full and complete picture of the formation and evolution of the material World it is necessary to observe the motion of material forming in the three equivalentphilosophical categories: in space time quality. The ideas of the new conception of ontological model become actual supplementation of really scientific philosophical knowledge on the way of a more objective ontological comprehension of our Being, of the law of development of the human civilization and the Universe as a whole. This knowledge can be successfully used for the description of the realistic paradigm of Being, in explanations of the meaning of Life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Newton's Metaphysics: Essays by Eric SchliesserMarius StanEric Schliesser. Newton's Metaphysics: Essays. Oxford: Oxford University Press, 2021. Pp. 328. Hardback, $99.90.Newton owes his high regard to the quantitative science he left us, but his overall picture of the world had some robustly metaphysical threads woven in as well. Posthumous judgment about the value of these threads has varied wildly. Christian Wolff thought him a metaphysical rustic, as did Hans (...) Reichenbach some two centuries later ("Die Bewegungslehre bei Newton, Leibniz und Huygens," Kant-Studien 29 [1924]: 416–38). In the 1960s, the tide would turn, as Howard Stein and James Edward McGuire separately began to show that Newton's metaphysics was not just sophisticated, but often more compelling than its early modern alternatives (see respectively "Newtonian Spacetime," Texas Quarterly 10 [1967]: 174–200; and Tradition and Innovation: Newton's Metaphysics of Nature [Dordrecht: Kluwer Academic Publishers, 1995]). Eric Schliesser's book unfolds in that same register of appreciative, high scholarship, and it attests to the enduring attraction of its subject.The book grew out of previous discrete papers, to which he added a few more for this occasion. Accordingly, it does not come with a master argument. Rather, it is an in-depth exploration of some key metaphysical themes in Newton. As such, it befits its subject figure, who reflected on themes and concepts while stopping short of working out systems.The first major theme is Newton and Spinozism. The latter does not denote Spinoza's metaphysics. In fact, Schliesser explains, Newton shared with Spinoza some weighty commitments, for example, to space being actually infinite, and to substance monism: "for Newton, there is strictly speaking only one genuine substance," namely, God (33). Rather, "Spinozism" is an interpreter's category for a bundle of three theses: identifying God and nature; denying final causation in the physical world; and the assumption of "blind" metaphysical necessity. Some counted Hobbes and John Toland as Spinozist in this sense, and even Epicurus, avant la lettre. Newton and his followers argued vehemently against this package, as Schliesser shows in chapters 4, 5, and 8. Their chief complaint was that Spinozism is unable to account for the "origin of motion," for a certain type of order, and for the stability of cosmological structure—and to do so in a way that "meets the standards of Newtonian mechanics" (122). This interpretive lens allows Schliesser to draw Kant in, by reading his youthful Theory of Heaven as a possible Spinozist reply to their objections (chapter 3). [End Page 157]A second theme is the metaphysics of mechanics, where Schliesser weaves together several strands. One is the ontology of gravity, for which he offers a novel construal: for Newton, gravity counts as real, but in a qualified sense. Namely, it is not essential and not intrinsic: "even after creation, a lonely partless particle of matter in the universe would not be said to gravitate." And gravity is relational: a "shared quality" of two or more bits of matter, which obtains in virtue of their sharing a nature (19). Another strand is Newton's ontology of time—really, a subtle, difficult topic long neglected. Famously, Newton in Principia defends absolute, true, and mathematical time. The question is what these three qualifiers denote, and whether Newton thought they were synonymous. Schliesser in chapter 7 argues for the provocative view that "absolute" and "true" time are not identical concepts; rather, they pick out different entities. These entities share a common structure, namely, metric and topological. That makes them species of "mathematical" time (179). But, Schliesser contends, Newton has unequal warrant for his two concepts of time.Yet another theme is formal causation. It comes to the fore in chapter 5, which grapples with Newton's opaque idea that space is an "emanative effect." Schliesser explains that here, "emanation picks out a species of formal causation" (147), but in a novel, early modern sense that comes from Bacon, not Aristotle. If space has a formal cause, then so has its twin brother, time, the topic of chapter 7. God is their common formal cause. Then in chapter 6 (coauthored with Zvi Biener) Schliesser adds that, for Newton, laws... (shrink)

Motion—and, in particular, local motion or change in location—plays a central role in Kenelm Digby’s natural philosophy and in his arguments for the immateriality of the soul. Despite this, Digby’s account of what motion consists in has yet to receive much scholarly attention. In this paper, I advance a novel interpretation of Digby on motion. According to it, Digby holds that for a body to move is for it to divide from and unify with other bodies. (...) This is a view of motion—as change in relations of parthood—that Alison Peterman attributes to Digby’s contemporary and acquaintance, Margaret Cavendish. Having shown that Digby’s presentation of the view predates Cavendish’s by more than a decade, I make a case that Digby’s work influenced Cavendish’s on this topic. In developing and defending my reading, I consider to what extent the Digbean account of motion and the arguments for it accord with the ideals of the mechanical philosophy emerging in the early modern period. (shrink)

The study of perception and the role of the senses have recently risen to prominence in philosophy and are now a major area of study and research. However, the philosophical history of the senses remains a relatively neglected subject. Moving beyond the current philosophical canon, this outstanding collection offers a wide-ranging and diverse philosophical exploration of the senses, from the classical period to the present day. Written by a team of international contributors, it is divided into six parts: -/- Perception (...) from Non-Western Perspectives Perception in the Ancient Period Perception in the Medieval Latin/Arabic Period Perception in the Early Modern Period Perception in the Post-Kantian Period Perception in the Contemporary Period. The volume challenges conventional philosophical study of perception by covering a wide range of significant, as well as hitherto overlooked, topics, such as perceptual judgment, temporal and motion illusions, mirror and picture perception, animal senses and cross-modal integration. By investigating the history of the senses in thinkers such as Plotinus, Auriol, Berkeley and Cavendish; and considering the history of the senses in diverse philosophical traditions, including Chinese, Indian, Byzantine, Greek and Latin it brings a fresh approach to studying the history of philosophy itself. -/- Including a thorough introduction as well as introductions to each section by the editors, The Senses and the History of Philosophy is essential reading for students and researchers in the history of philosophy, perception, philosophy of mind, philosophical psychology, aesthetics and eastern and non-western philosophy. It will also be extremely useful for those in related disciplines such as psychology, religion, sociology, intellectual history and cognitive sciences. (shrink)

_ Source: _Volume 30, Issue 1, pp 4 - 27 The _Animadversiones in Elementorum Philosophiae_ by a little known Flemish scholar G. Moranus, published in Brussels in 1655 was an early European response to Hobbes’s _De Corpore_. Although it is has been referred to by various Hobbes scholars, such as Noel Malcolm, Doug Jesseph, and Alexander Bird it has been little studied. Previous scholarship has tended to focus on the mathematical criticisms of André Tacquet which Moranus included in the form (...) of a letter in his volume. Moranus’s philosophical objections to Hobbes’s natural philosophy offer a fascinating picture of the critical reception of Hobbes’s work by a religious writer trained in the late Scholastic tradition. Moranus’s opening criticism clearly shows that he is unhappy with Hobbes’s exclusion of the divine and the immaterial from natural philosophy. He asks what authority Hobbes has for breaking with the common understanding of philosophy, as defined by Cicero ‘the knowledge of things human and divine’. He also offers natural philosophical and theological criticisms of Hobbes for overlooking the generation of things involved in the Creation. He also attacks the natural philosophical underpinning of Hobbes’s civil philosophy. In this paper I look at a number of philosophical topics which Moranus criticised in Hobbes’s work, including his mechanical psychology, his theory of imaginary space, his use of the concept of accidents, his blurring of the distinction between the human being and the animal, and his theories of motion. Moranus’s criticisms, which are a mixture of philosophical and theological objections, gives us some clear indications of what made Hobbes’ natural philosophy controversial amongst his contemporaries, and sheds new light on the early continental reception of Hobbes’s work. (shrink)

Several of the essays in this collection discuss the `binding problem', the problem of explaining in neurophysiological terms how it is that we see the various perceptual qualities of a physical object, such as its shape, colour, location and motion, as features of a single object. The perceived object seems to us a unitary thing, but its sensory properties are diverse and turn out to be processed in different areas of the brain. How then does the brain manage the (...) integration? Readers of the essays in this collection may find themselves suffering from an analogous binding problem about the study of consciousness, though this problem is conceptual rather than perceptual, and here the difficulty is to achieve the integration rather than to understand how an effortless integration is achieved. Consciousness is the ideal topic for inter-disciplinary investigation. It is a central concern of such diverse disciplines as neurophysiology, evolutionary biology, psychology, cognitive science, philosophy and theology, among others, yet none of these disciplines has come close to providing full answers to the central questions that consciousness raises. Inter-disciplinary investigation seems an obvious way forward, but it generates the conceptual binding problem that this collection displays. The standard of the essays is very high, but it is extraordinarily difficult to integrate their content into anything like a single picture. We are all apparently talking about the same phenomenon, the conscious awareness of the world that each of us enjoys first-hand, but it is quite unclear how to see the very different things we say about this phenomenon as part of a single picture, or even as parts of different but compatible pictures. Having raised the binding problem for the inter-disciplinary study of consciousness, I hasten to say that I will not attempt even a partial substantive solution here: that is left as an exercise for the readers of this book. (shrink)

There has always been interest in inconsistency in science, not least within science itself as scientists strive to devise a consistent picture of the universe. Some important early landmarks in this history are Copernicus’s criticism of the Ptolemaic picture of the heavens, Galileo’s claim that Aristotle’s theory of motion was inconsistent, and Berkeley’s claim that the early calculus was inconsistent. More recent landmarks include the classical theory of the electron, Bohr’s theory of the atom, and the on-going difficulty of (...) reconciling Einstein’s general relativity and quantum theory. But over the past few decades philosophers have taken a particular and increasing interest in inconsistency in science. In 2002 this culminated in the first collection of articles specifically dedicated to the topic: Inconsistency in Science, edited by Joke Meheus, published by Kluwer, and featuring twelve articles on a range of topics in the philosophy of science and mathematics.Since then philosophic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Breath of Fresh Air:Or, Why the Body is Not Embodied1Tim Ingold (bio)One of the more irritating affectations of much recent writing in the humanities and social sciences is the habit of inserting the word "embodied" in front of the topic in question, as though by doing so the specter of binary thinking could be magically exorcised. Almost anything, it seems, can be embodied–the mind, consciousness, experience, knowledge, skills, (...) practices, the self, meaning. If there is one thing that cannot be embodied, however, it is the body itself. At first glance, the phrase "embodied body" looks like a simple case of tautology, of saying the same thing twice. "How can a body not be embodied?" you will protest. "It's the embodiment that makes it a body!" But on second thought, the matter is not so straightforward. For if the body is the predicate of a process of embodiment–if it comes after embodiment, so to speak–then all the other things we claim can be entered into the process must come before it. Thus, the dualism of mind and body, to take just one example, is still there, just as categorical as it ever was, but it no longer equates to a schism between ideal and material worlds. It is, rather, a matter of separating what is poured into the funnel of embodiment from what is extruded at the other end of it. It is a division between what goes in, and what comes out. Only things that go in can be embodied. The body, since it comes out of the process, cannot.A body, however, if it is to remain alive, has to breathe. Does it make sense, then, to regard breathing as a practice of embodiment, or to add breath to the list of things that can be embodied? That a body breathes goes without saying; that breath is thereby embodied is another matter entirely. Fundamental to breathing is the rhythmic alternation of air going in, and air coming out. Perhaps there's a sense in which breath is embodied on the inhalation, as air is drawn into the oxygenating process essential to bodily metabolism. But the release of air on the exhalation seems like the reverse, since it serves to expel gases–principally carbon dioxide–which in concentration would be lethal. If your body absorbs as you breathe in, it exudes as you breathe out. Embodiment, then, catches only half the picture, minus its complement of vaporization. Likewise, with [End Page 100] the body itself we have only half of the living being: the fleshy part. The other, gaseous part is normally invisible, though under certain conditions it can be seen, for example in a room full of smokers, in which everyone is wreathed in a haze, or when it is very cold, causing the warm, humid air issuing from the lungs to condense into a little cloud. As vaporization appears to be the complement of embodiment, so the cloud, whether of tobacco smoke or condensed moisture, seems to complement the body made up of flesh and blood.In the Western world there is a long tradition of prioritizing body over breath. This is consistent with an ontology of naturalism that tends to put the being of things before their becoming, as though everything there is had already precipitated out into bodies of one form or another, which have then to be set in motion in order to have the effects they do. Among many so-called Indigenous peoples, however, most especially those credited by anthropological observers with an ontology of animism, this priority is reversed. For them the vital complement of the living being wafts in smoke and resonates in song, whereas the bodily complement is but an ephemeral, almost ghostly appearance.2 Although a comparison of Western and animic ontologies might appear to lend support to the thesis of complementarity, pitching western naturalists into a world of bodies and indigenous animists into a world of vapors–both demi-worlds which, if only they could be combined, would make a perfect whole–I shall argue, to the contrary, that with a focus on breath and breathing, the division between the... (shrink)