Based on our experience in teaching ethics, we have developed, tested, and presented in this article a program of instruction that rests on four pillars: popular feature films, a six-stage ethical decision-making process, the principles necessary to address ethical situations, and the classroom instructor. Taken separately, there is nothing new or unique in these pillars. Taken together, however, and to our knowledge, these four pillars, including the requirement that each student is expected to prepare a written abstract (...) of the film prior to the classroom discussion of that film in which the student is expected to demonstrate a practical application of ethical principles to actual and concrete moral situations, constitute a new, unique, and tested way to teach ethics to undergraduate students of management and economics. (shrink)

Film can be a significant way of doing public philosophy. This chapter sketches some essential public features of philosophy by using popular films. Learning to watch popular films as philosophical expressions, on par with books and articles, brings film and philosophy to inform one another and illuminate important areas of overlap. Memento is an especially uncanny film because it begins with the story's ending. Daniel J. Clark's 2018 documentary film Behind the Curve charts the resurgence of (...) flat‐Earth theory in the United States. Its core thesis is that false, avowed belief in flat‐Earth is sustained partly by an irrational weighing of evidence reinforced by various social, psychological, and economic benefits that come from holding the belief. We gain insight into a classic mechanism of motivated reasoning from Tony Kaye's film American History X, a fictional exploration of the rise of white supremacist ideology in US white working‐class neighborhoods. (shrink)

This chapter contains sections titled: Notes References.

Over the past two decades, stories of world-ending catastrophe have featured prominently in film and television. Zombie apocalypses, climate disasters, alien invasions, global pandemics and dystopian world orders fill our screens-typically with a singular figure or tenacious group tasked with saving or salvaging the world. Why are stories of End Times crisis so popular with audiences? And why is the hero so often a white man who overcomes personal struggles and incredible obstacles to lead humanity toward a restored future? (...) This book examines the familiar trope of the hero and the recasting of contemporary anxieties in narratives like The Walking Dead, Snowpiercer and Mad Max: Fury Road. Some have familiar roots in Western cultural traditions yet many question popular assumptions about heroes and heroism to tell new and fascinating stories about race, gender and society and the power of individuals to change the world. (shrink)

Many of the most popular and critically acclaimed horror films feature grief as a central theme. This article argues that horror films are especially suited to portraying and communicating the phenomenology of grief. We explore two overlapping claims. First, horror is well suited to represent the experience of grief, in particular because the disruptive effects of horror “monsters” on protagonists mirror the core experience of disruption that accompanies bereavement. Second, horror offers ways in which the experience (...) of grief can be contained and regulated and, in doing so, may offer psychological benefits for the bereaved. While our focus will be squarely on film, much of what we say applies to other media. (shrink)

This fascinating study explores the difficulties faced by modern Westerners in their search for a meaningful life. It sheds light on this enduring cultural dilemma through a close reading of four popular film and television narratives: Pixar's animated feature film, Toy Story; Christopher Nolan's Batman Begins and The Dark Knight; the television romantic comedy, Sex and the City; and, finally, the mobster drama, The Sopranos. The readings are guided by a number of inter-related questions. First, in what ways (...) do these popular stories speak to the modern West's meaning dilemma? What do they have to say about contemporary culture, and its capacity to illuminate the fundamental human? What are the core problems faced by the central characters and how are they resolved? Finally, and perhaps most importantly, do the four stories that come into focus suggest hope or despair in the modern West's search for meaning? (shrink)

_Philosophy Through Film_ offers a uniquely engaging and effective approach to introductory philosophy by combining an anthology of classical and contemporary philosophical readings with a discussion of philosophical concepts illustrated in popular films. Pairs 50 classical and contemporary readings with popular films - from Monty Python and _The Matrix_ to _Casablanca_ and _A Clockwork Orange_ Addresses key areas in philosophy, including topics in ethics, philosophy of religion, philosophy of mind, free will and determinism, the problem of (...) perception, and philosophy of time Each unit begins with an extensive introduction by the editors and ends with study questions linking readings to films Features chapter by chapter discussion of clips from films that vividly illustrate the critical philosophical arguments and positions raised in the readings. (shrink)

Featuring significant revisions and updates, _Classic Questions and Contemporary Film, An Introduction to Philosophy, 2nd Edition_ uses popular movies as a highly accessible framework for introducing key philosophical concepts Explores 28 films with 18 new to this edition, including _Eternal Sunshine of the Spotless Mind, Hotel Rwanda, V for Vendetta, _and _Memento_ Discusses numerous philosophical issues not covered in the first edition, including a new chapter covering issues of personal identity, the meaningfulness of life and death, and existentialism (...) Offers a rich pedagogical framework comprised of key classic readings, chapter learning outcomes, jargon-free argument analysis, critical thinking and trivia questions, a glossary of terms, and textboxes with notes on the movies discussed Revised to be even more accessible to beginning philosophers. (shrink)

Representations of women, or more exactly of gender, and the presence and works of women filmmakers constitute an important area of analysis for gender studies and feminist film theories. In Turkey the presence and the participation of women in the public sphere have been one of the important objectives of the Kemalist modernization project since the founding of the modern nation-state in 1923. However, despite the modernizing efforts to empower women in different spheres of life there was no woman director (...) in Turkish commercial feature cinema until the beginning of the 1950s. Since the beginning of the 2000s the number of women directors has increased significantly, reaching a number well above that of the entire period before. This article investigates the reasons behind this increase based on quantitative data gathered from secondary sources and in-depth interviews with women producers and directors. It also questions whether and to what extent the increase in the number of women film directors contributed to the production of ‘women’s films’, based on a qualitative analysis of films produced by women directors between the years 2004 and 2013. The results show that in addition to technological and aesthetic changes in the industry, the increase in the availability of international and national public funding for low-budget independent film productions and the enlargement of the women’s movement allowed more women directors to enter the film industry. While half of the films made by women directors in the 2000s could be qualified as ‘women films’, the other half remained, largely due to market forces, within the conventions of popular or art house cinema. (shrink)

The boundary between 'high' culture and 'popular' culture is neither hermetic nor stable. A wide-spread mechanism of a reception strongly influenced by structuralism and post-modernism has led to the amplification and acceleration of cultural production between these two poles. Relying on a decidedly theoretical approach, this volume offers a broad perspective transgressing linguistic, cultural, temporal, and media borders. Reflections and perspectives on the relationship between 'high' and 'popular' culture are the subject of the thirteen articles collected here. Side (...) by side with theoretical approaches, case studies covering classical and Heavy Metal music, TV series and pornographic films, zombies and 'Creature Features', philosophically infused comics and popular lexicography, professional wrestling and hypertext literature pave the way to a contemporary aesthetics. (shrink)

Cultural studies constitutes one of the most multi-perspectival research fields. Amidst a polyvocal theoretical landscape that spans different disciplines semiotics is of foundational value. In an attempt to effectively address the conceptual richness of the semiotic discipline, a wide roster of perspectives is evoked in this book against the background of a diverse set of cultural phenomena, including structuralist and post-structuralist semiotics, semiotically informed psychoanalysis, cultural semiotics, film semiotics, sociosemiotics, but also, to a lesser extent, music semiotics and more niche, (...) but certainly promising perspectives, such as postmodern semiotics, ethnosemiotics, phenomenological semiotics and rhetorical semiotics. The recruitment of semiotic frameworks and concepts is enacted against the background of advances in cultural studies (thus reinstating the dialogue with a discipline that took form by drawing on semiotics in the first place) and the various research streams that have become consolidated within the wider cultural studies territory, such as memory studies, celebrity studies, death studies, cultural geography, visual studies. At the same time, the offered readings engage dialogically with Consumer Culture Theory. As regards the diversity of cultural phenomena that constitute the empirical substratum of the offered analyses, music, cinema, new media, live-shows, branding, advertising and literature constitute the focal areas of concern. Under the aegis of a permeating textuality paradigm, the ubiquitously applicable tools of multimodal analysis, and time-hallowed qualitative research methods facilitated by advances in videography and archival research, the featured semiotic readings aim at scrutinizing the wider social implications and communicative functions of popular cultural artefacts, spectacles, processes and places, such as Lady Gaga’s monstrosity, Dio’s memorial, experiential consumption events, the ice-bucket challenge video meme. (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)

BackgroundThe global expansion of biobanks has led to a range of bioethical concerns related to consent, privacy, control, ownership, and disclosure. As an opportunity to engage broader audiences on these concerns, bioethicists have welcomed the commercial success of Rebecca Skloot’s 2010 bestselling book The Immortal Life of Henrietta Lacks. To assess the impact of the book on discussion within the media and popular culture more generally, we systematically analyzed the ethics-related themes emphasized in reviews and articles about the book, (...) and in interviews and profiles of Skloot.MethodsWe conducted a content analysis of a population of relevant English-language articles and transcripts (n = 125) produced by news organizations and publications in the U.S., Canada, Great Britain/Ireland, and Australia/New Zealand. We scored each article for the emphasis and appearance of 9 ethics-related themes. These were informed consent, welfare of the vulnerable, compensation, scientific progress, control/access, accountability/oversight, privacy, public education, and advocacy.ResultsThe informed consent theme dominated media discussion, with almost 39.2 percent of articles/transcripts featuring the theme as a major focus and 44.8 percent emphasizing the theme as a minor focus. Other prominent themes and frames of reference focused on the welfare of the vulnerable (18.4 percent major emphasis; 36.0 percent minor emphasis), and donor compensation (19.2 percent major; 52.8 percent minor). Ethical themes that comprised a second tier of prominence included those of scientific progress, control/access, and accountability/oversight. The least prominent themes were privacy, public education, and advocacy.ConclusionsThe book has been praised as an opportunity to elevate media discussion of bioethics, but such claims should be re-considered. The relatively narrow focus on informed consent in the media discussion generated by Skloot’s book may limit the ability of ethicists and advocates to elevate attention to donor control, compensation, patenting, privacy, and other ethical issues. Still, ethicists should view the book and a pending major TV film translation as opportunities to highlight through media outreach, consultation exercises and public forums a broader range of bioethical concerns that would otherwise be under-emphasized in news coverage. Such efforts, however, need to be carefully planned and evaluated. (shrink)

This study aimed at finding students? perspectives on integrating feature films on digital versatile discs (DVDs) in oral communication classes of advanced English as foreign language (EFL) learners. A total of 29 students being trained as teachers of English participated in the study. Data were collected through a survey questionnaire. All participants unanimously agreed that through films they had the opportunity to learn about how people initiate and sustain a conversational exchange, and how they negotiate meaning; types (...) of exclamation and filling expressions; colloquial English in real?life contexts, and non?verbal communication. Participants also acknowledged that viewing feature films exposed them not only to a wide range of native speakers, each with their own slang, accents and dialects, but also to a wealth of contextualised vocabulary expressions and authentic cross?cultural information. The study suggests that it is possible to exploit feature films in foreign language classes with a wide array of pedagogical options. (shrink)

Der Artikel zeigt, dass der Einsatz von Spielfilmen in der Lehre sinnvoll sein kann, um Studierende an komplexe bioethische Themen heranzuführen und moralische Dilemmata zu diskutieren. Zunächst werden Funktion und Bedeutung des audiovisuellen Mediums (Spiel-)Film als Mittel zur ethischen Urteilsbildung reflektiert. Anhand von zwei Sequenzanalysen des Films GATTACA, in denen die gesellschaftlichen Konsequenzen gen- und reproduktionstechnologischer Entwicklungen in Bezug auf Zeugung und Familienplanung sowie veränderte Verwandtschafts- und Freundschaftsbeziehungen dargestellt sind, wird exemplarisch gezeigt, welche ethischen Fragen in welcher Art und (...) Weise hier thematisiert werden. Unter Bezugnahme auf das Ethische Reflexionsmodell von Marianne Rabe wird abschließend veranschaulicht, wie sich filmische Fälle praktisch in die Ethiklehre integrieren lassen. (shrink)

Este estudio se ocupa del control social del cuerpo y de la reconfiguración de la memoria popular en películas de horror a través de la perspectiva genealógica de Foucault, presentada en su libro Vigilar y Castigar, publicado hace 40 años. Por lo tanto, tomaremos, À l’interieur e Frontière (s), dos producciones de horror cinematográfico hechas por directores franceses, ambos publicados en 2007. La hipótesis principal es que las películas de terror se muestran como una nueva forma de vigilancia y (...) control social del cuerpo. Por otro lado, también puede recodificar la memoria popular apropiándose de acontecimientos polítcos y/o revolucionarios como en las películas comentadas por Foucault en la revista Cahiers de Cinéma en 1974 políticas, aunque no sean las películas de terror. (shrink)

This article presents three studies examining the importance of identification with characters in research on media entertainment. In Study 1 it was found that identification with characters was associated with spectators' degree of enjoyment of feature films of different genres. Study 2 showed that identification with characters predicts the affective impact of a dramatic film and, also, it was associated with greater cognitive elaboration and a more complex reflexive process during the viewing of the dramatic film. In Study (...) 3 it was observed that identification with characters predicted the incidental impact of a full length fictional film on attitudes and beliefs. These results support the centrality of the construct of identification with characters in narrative persuasion research. (shrink)

Research on metaphor has over the past decades increasingly been extended to its visual and multimodal varieties. While analysts of verbal metaphors are helped by the fact that languages have grammars and vocabularies, researchers of visual and multimodal metaphors need to rely on other methods for identification and interpretation. One approach that claims to have developed a robust method for analyzing metaphor in moving images is FILMIP, which has hitherto focused on the specific genre of commercials. In this paper it (...) is argued that there are serious problems with FILMIP. First, the theoretical basis of FILMIP and two empirical studies drawing on it are discussed. Subsequently, its limited use for analyzing metaphors in the genre of feature films is demonstrated on the basis of four case studies. The paper ends with sketching some general advice pertaining to researching metaphor in film, and provides a cautious alternative to FILMIP. (shrink)

This article explores how the Crash Course video series are being used as a content-focused resource in the social studies classroom. It argues that the Crash Course series, alongside its YouTube competitors, has significantly stepped in to fill a vacuum left by criticisms and the unpopularity of lectures, textbooks, and feature films. With over 15 million subscribers and accumulated views over 1.9 billion, Crash Course has become an important and ubiquitous force in history and social studies classrooms and (...) represents a new genre of educational media found on YouTube. However, the dramatic rise in the popularity of educational videos online has not coincided with a growth in educational research, particularly in social studies and history education. This article explores the findings of a mixed-methods study that examines how and why history and social studies teachers are using Crash Course videos in their teaching and planning. In particular, it analyses descriptive statistics derived from the results of a teacher survey ( n = 181) and semi-structured interviews with seven social studies teachers who have used Crash Course in their classrooms. The authors found that teachers in the study are regularly using the Crash Course video series to deliver content which is clearly meeting a need many social studies teachers have. The videos–short, easily accessible, and fun–fit nicely with demands to keep students engaged, reduce reliance on textbooks, and explore new content that teachers have little time to learn themselves. This study also found that rarely, if ever, are teachers inviting students to evaluate or assess the content, trustworthiness, or perspective of Crash Course videos. This article discusses what is gained and what are the risks of embracing Crash Course in the social studies and history classroom. (shrink)

Artificial Culture" is an examination of the articulation, construction, and representation of "the artificial" in contemporary popular cultural texts, especially science fiction films and novels. The book argues that today we live in an artificial culture due to the deep and inextricable relationship between people, our bodies, and technology at large. While the artificial is often imagined as outside of the natural order and thus also beyond the realm of humanity, paradoxically, artificial concepts are simultaneously produced and constructed (...) by human ideas and labor. The artificial can thus act as a boundary point against which we as a culture can measure what it means to be human. Science fiction feature films and novels, and other related media, frequently and provocatively deploy ideas of the artificial in ways which the lines between people, our bodies, spaces and culture more broadly blur and, at times, dissolve. Building on the rich foundational work on the figures of the cyborg and posthuman, this book situates the artificial in similar terms, but from a nevertheless distinctly different viewpoint. After examining ideas of the artificial as deployed in film, novels and other digital contexts, this study concludes that we are now part of an artificial culture entailing a matrix which, rather than separating minds and bodies, or humanity and the digital, reinforces the symbiotic connection between identities, bodies, and technologies. "--Provided by publisher. (shrink)

Three studies are presented to validate the Spanish version of Oliver and Raney’s eudaimonic and hedonic motivations scale. In Study 1, 132 university students watched a dramatic film, filling out the scales to evaluate motivations regarding cinema consumption and reception processes. Eudaimonic motivation was associated with deeper cognitive processes during the reception and stronger identification with the protagonist. Study 2 evaluated the test-retest reliability of the eudaimonic and hedonic motivations scale. In Study 3, statistically significant age differences were observed in (...) hedonic and eudaimonic motivations. Furthermore, convergent correlations were detected between hedonic and eudaimonic motivations and preferences of different film genres. These results allow us to conclude that the Spanish version of the hedonic and eudaimonic motivations scale presents adequate psychometric properties, thus being convergent with those obtained by Oliver and Raney. (shrink)

_Memory and Popular Film_ Edited by Paul Grainge Manchester, England: Manchester University Press, 2003 ISBN 071963744 hb 0719063752 pb 261 pp.

Veronica Mars is a kick-ass private investigator, smart and street-wise. But what can her character tell us about larger life issues, such as knowledge and skepticism, trust and friendship, revenge, race, gender, and feminism? What makes her tick? And why is Logan such a sarcastic bad boy, anyway? Veronica Mars and Philosophy features a thought-provoking collection of essays centered on philosophical issues brought forth in Veronica Mars, the critically acclaimed neo-noir detective series set in the fictional town of Neptune, California. (...) Fans and newcomers alike will gain unique insights into the philosophical make-up of a hit show that tackled both crime and some of the larger mysteries of life. Introduces significant philosophical concepts that arise in the cult TV show, Veronica Mars Tackles topics relevant to contemporary youth culture, including trust and friendship, revenge, knowledge and skepticism, race, class, gender, and feminism Offers insights into darker themes explored in the series, which is noted for the complexity and intricate plotting of its storylines Delves deeply into the psychology of Veronica Mars during her transition from high school to college Written for fans of the television show, philosophy students or readers interested in popular culture Timed for release with the highly anticipated Veronica Mars feature film. (shrink)

Veronica Mars is a kick-ass private investigator, smart and street-wise. But what can her character tell us about larger life issues, such as knowledge and skepticism, trust and friendship, revenge, race, gender, and feminism? What makes her tick? And why is Logan such a sarcastic bad boy, anyway? _Veronica Mars and Philosophy_ features a thought-provoking collection of essays centered on philosophical issues brought forth in _Veronica Mars_, the critically acclaimed neo-noir detective series set in the fictional town of Neptune, California. (...) Fans and newcomers alike will gain unique insights into the philosophical make-up of a hit show that tackled both crime and some of the larger mysteries of life. Introduces significant philosophical concepts that arise in the cult TV show, _Veronica Mars_ Tackles topics relevant to contemporary youth culture, including trust and friendship, revenge, knowledge and skepticism, race, class, gender, and feminism Offers insights into darker themes explored in the series, which is noted for the complexity and intricate plotting of its storylines Delves deeply into the psychology of Veronica Mars during her transition from high school to college Written for fans of the television show, philosophy students or readers interested in popular culture Timed for release with the highly anticipated _Veronica Mars_ feature film. (shrink)

Veronica Mars is a kick-ass private investigator, smart and street-wise. But what can her character tell us about larger life issues, such as knowledge and skepticism, trust and friendship, revenge, race, gender, and feminism? What makes her tick? And why is Logan such a sarcastic bad boy, anyway? Veronica Mars and Philosophy features a thought-provoking collection of essays centered on philosophical issues brought forth in Veronica Mars, the critically acclaimed neo-noir detective series set in the fictional town of Neptune, California. (...) Fans and newcomers alike will gain unique insights into the philosophical make-up of a hit show that tackled both crime and some of the larger mysteries of life. Introduces significant philosophical concepts that arise in the cult TV show, Veronica Mars Tackles topics relevant to contemporary youth culture, including trust and friendship, revenge, knowledge and skepticism, race, class, gender, and feminism Offers insights into darker themes explored in the series, which is noted for the complexity and intricate plotting of its storylines Delves deeply into the psychology of Veronica Mars during her transition from high school to college Written for fans of the television show, philosophy students or readers interested in popular culture Timed for release with the highly anticipated Veronica Mars feature film. (shrink)

_ X-Men_ is one of the most popular comic book franchises ever, with successful spin-offs that include several feature films, cartoon series, bestselling video games, and merchandise. This is the first look at the deeper issues of the X-Men universe and the choices facing its powerful "mutants," such as identity, human ethics versus mutant morality, and self-sacrifice. J. Jeremy Wisnewski is Assistant Professor of Philosophy at Hartwick College and the editor of Family Guy and Philosophy and The (...) Office and Philosophy. Rebecca Housel is a professor at Rochester Institute of Technology, where she teaches about writing and pop culture. For William Irwin's biography, please see below. (shrink)

X-Men is one of the most popular comic book franchises ever, with successful spin-offs that include several feature films, cartoon series, bestselling video games, and merchandise. This is the first look at the deeper issues of the X-Men universe and the choices facing its powerful "mutants," such as identity, human ethics versus mutant morality, and self-sacrifice. J. Jeremy Wisnewski (Oneonta, NY) is Assistant Professor of Philosophy at Hartwick College and the editor of Family Guy and Philosophy (978-1-4051-6316-3) (...) and The Office and Philosophy (978-1-4051-7555-5). Rebecca Housel (Rochester, NY) is a professor at Rochester Institute of Technology, where she teaches about writing and pop culture. For William Irwin's biography, please see below. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Imagined Apotheoses: Drake, Harriot, and Ralegh in the AmericasWilliam M. HamlinPerhaps the two best known stories of Europeans being taken for gods by non-European peoples are those of Hernan Cortés in Mexico and Captain James Cook in Hawaii. Separated by two hundred sixty years, five thousand miles, and vast differences in cultural and linguistic context, these two incidents nonetheless share many traits in the conventional telling. Cortés and Cook (...) were both strong leaders, for instance, both capable of inspiring devotion among their subordinates. Both men became amateur ethnographers during their lengthy sojourns away from Europe, both sought to promote an image of respectful rather than rapacious foreign incursion, and both are said to have been taken for returning gods by the native peoples among whom they landed: Cortés for the Toltec culture-hero and demigod Quetzalcoatl, Cook for the Hawaiian deity Lono. Click for larger view View full resolutionFigure 1.“The Far Side” cartoon by Gary Larson. Courtesy of Chronicle Features, San Francisco.Recent scholarly studies and debates—among them the rather strident dispute between Gananath Obeyesekere and Marshall Sahlins over the alleged deification of Cook by eighteenth-century Hawaiians—have opened up these returning-god theories to skeptical critique and detailed justification; but such discussions have had little, if any, impact on popular imagination. 1 [End Page 405] Indeed, the idea that redoubtable European explorers can be (and often are) perceived as supernatural beings by non-European “primitives” has been uncritically perpetuated to this day by filmmakers, fantasists, writers of popular history, and purveyors of cultural literacy. E. D. Hirsch, Jr., for instance, informs our children that Caribbean islanders encountered by Columbus “asked if he had come from heaven”—the implication being, of course, that they took him for a god. 2 And in the recent film, 1492: Conquest of Paradise, we hear the indefatigable Admiral (played by Gerard Depardieu) claim that “on every island the natives welcome us with great generosity and trust.... Because of our appearance, we have been mistaken for gods, and are treated accordingly.” 3 Fortunately, we also have a “Far Side” parody of the cultural conceit on which such ideas in part rely, but the cartoon serves as well to demonstrate just how thoroughly the conceit has permeated our collective awareness (see figure 1). 4 Click for larger view View full resolutionFigure 2.“It’s against my programming to impersonate a deity.” From The Return of the Jedi, dir. Richard Marquand, Lucasfilm, Ltd., 1983. All Rights Reserved. Courtesy of Lucasfilm, Ltd.Let me offer just one other example. Near the end of the popular 1983 film The Return of the Jedi, the forest-dwelling Ewoks begin to chant and salaam upon first glimpsing the golden robot C-3PO, who in turn tells his captured comrades, “I do believe they think I am some sort of god.” When Han Solo sarcastically asks the robot to use his “divine influence” to help extricate them from their predicament, C-3PO replies that such an action would be improper: “It’s against my programming to impersonate a deity.” Here we see, embedded within a film romance, both the classic trope of the apotheosized foreigner and the related motif of the foreigner’s reluctance to [End Page 406] play the god-role (see figure 2). It is worth noting, however, that while C-3PO may be unwilling to exploit the Ewoks’ misperception, Luke Skywalker is not; he uses the “Force” to convince the Ewoks of the robot’s magical prowess and, more to the point, to perpetuate their misapprehension. 5What I wish to suggest in this essay is that certain habitual Western assumptions or conceits regarding cross-cultural encounters—assumptions which have been usefully termed “myth models” inasmuch as they condition human perception and find frequent discursive expression—coexist easily but in fact disjunctively with certain other ideological structures in many early modern travel narratives and colonial accounts. Obeyesekere, in his provocative book on the supposed deification of Captain Cook in Hawaii, has linked such myth models to the conceptual structures of the longue durée as characterized by Fernand Braudel, and it is possible that they may also be... (shrink)

For the past several decades, popular culture, especially feature films and television, has been utilized with increasing frequency in bioethics teaching and reflection. This seems quite fitting, for, in the words of cultural historian and film critic Leo Braudy, even more than standard newspaper articles and other analytical texts, popular culture constitutes a “sounding board or lightning rod for deep-rooted audience concerns” Refiguring American film genres. University of California Press, Berkeley, pp 278–309, 1998). Further, many audience (...) concerns in advanced-capitalist societies relate to the promises and perils of science and technology in general and biomedicine in particular. In this essay, I offer an overview of the advantages and disadvantages of utilizing popular culture for bioethical reflection and pedagogy, and provide a framework for thinking through the promises and pitfalls of popular culture for researchers, teachers and practitioners of bioethics and biomedicine. (shrink)

This book addresses a prominent group of virtues and vices as portrayed in popular films to further our understanding of these moral character traits. The discussions emphasize the interplay between the philosophical conception of the virtues and vices and the cinematic representations of character. Joseph H. Kupfer explores how fictional characters possessing certain moral strengths and weaknesses concretize our abstract understanding of them. Because the actions that flow from these traits occur in cinematic contexts mirroring real world conditions, (...) the narrative portrayals of these moral characteristics can further our appreciation of their import. Humility, integrity, and perseverance, for example, are depicted in Chariots of Fire, The Fabulous Baker Boys, and Billy Elliot, while the vices of envy, arrogance and vanity are captured in Amadeus, Whiplash, and Young Adult. This interdisciplinary work in philosophy and film criticism will be of great interest to scholars and students of film studies, philosophy of film, ethics, aesthetics, and popular culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Quest for the Historical Abstract ExpressionismDaniel A. SiedellAbstract Expressionism:The International Context, by Joan Marter and David Anfam. Piscataway, NJ: Rutgers University Press, 2007, 320 pp. $26.95, paper.Abstract Expressionism, by Debra Bricker Balken. London: Tate, 2005, 80 pp. $9.60, paper.Reading Abstract Expressionism: Context and Critique, by Ellen Landau. New Haven, CT: Yale University Press, 2005, 768 pp. $45.00, paper.What makes any definition of a movement in art dubious is (...) that it never fits the deepest artists in the movement—certainly not as well as, if successful, it does the others.—Harold Rosenberg, 1952From the moment of its inception in the 1940s, "Abstract Expressionism" has been the subject of reframings, redefinitions, and revisions. This is because it is more than the sum total of artworks and artists traditionally recognized as part of the movement. It is a constitutive part of postwar American cultural life, and it has shaped how we understand art and the role of the artist. It has also shaped the practice of art criticism and defined the role of the art critic. Because it is part of the United States' creation myth of a distinctive postwar "American identity," it also possesses significant symbolic value. And this symbolic value is why it has been such a popular subject for art museum exhibitions for nearly half a century. The fact that in the last ten to fifteen years, major art museums have mounted major exhibitions of the work of key figures in the movement, like Jackson Pollock (including a feature film starring Ed Harris), Mark Rothko, Willem de Kooning, and Barnett Newman, and that auction prices for these artists reach tens of millions of dollars, suggest that, no matter how contested and complicated the concept of "Abstract Expressionism" is, the artists associated with the movement remain relevant.1Abstract Expressionism is not merely big business for museums, collectors, and auction houses. It has also been big business for scholars. The symbolic power of Abstract Expressionism and its influence on shaping and [End Page 107] forming contemporary artistic and critical practice has made the movement an important subject for historical and critical scrutiny. The publication of Irving Sandler's The Triumph of American Painting in 1970 was the first book-length study on Abstract Expressionism, and it marked the gradual beginning of the movement's transformation from a living entity to a more reified subject palatable for academic inquiry. Blending Alfred H. Barr's formalism with an historian's interest in subject matter and iconography and a critic's access to the artists, The Triumph of American Painting provided a taxonomy of sources and influences. Sandler's book, in part, provoked the publication of Serge Guilbaut's How New York Stole the Idea of Modern Art in 1983 (written in 1978 as a doctoral dissertation), which initiated nearly fifteen years of serious and provocative scholarship on Abstract Expressionism. Guilbaut's radical revisionist approach to the subject—which sought to reinterpret the entire development of Abstract Expressionism as an aesthetic weapon of the Cold War—provoked a slew of responses from art historians eager to either jump on the careening bandwagon of Marxist social histories of modern art or hunker down in the trenches to protect hard-won scholarly turf. The latter was the response of a loose federation of art historians eager to forge a scholarly orthodoxy. This emergent paradigm is revealed in a 1988 special issue of Art Journal called "Abstract Expressionism: New and Improved," coedited by Stephen Polcari and Ann Gibson. This issue included essays by those art historians who understood themselves as part of a "new generation" of scholars characterized by their collective desire to transcend the polemics and limitations of those critics and curators whose distorted picture of the movement would be restored to clarity through scholarly distance, a distance that a "new synthesis" of Abstract Expressionist "art, culture, history, and society together, not separately" would produce.2 Sandler and Guilbaut were swiftly dismissed by these art historians of the "new and improved," the former because of his formalism and close proximity to the artists—many of whom he knew personally—the latter because of his Marxism... (shrink)

Science in film, and usual equivalents such asscience on filmorscience on screen, refer to the cinematographic representation, staging, and enactment of actors, information, and processes involved in any aspect or dimension of science and its history. Of course, boundaries are blurry, and films shot as research tools or documentation also display science on screen. Nonetheless, they generally count asscientific film, andscience inandon filmorscreentend to designate productions whose purpose is entertainment and education. Moreover, these two purposes are often combined, and (...) inherently concern empirical, methodological, and conceptual challenges associated withpopularization,science communication, and thepublic understanding of science. It is in these areas that the notion of thedeficit modelemerged to designate a point of view and a mode of understanding, as well as a set of practical and theoretical problems about the relationship between science and the public. (shrink)

From at least 1925 to the present, science and technology have been depicted largely negatively in popular films of all genres. The images of science and technology in films reflect consistent public anxiety over the linkage between science, technology, and corporate power; the complacency of government agen cies and scientists toward new knowledge and artifacts; the insensitivity of scientists toward the moral implications of their research and its applications; and the co-option of technical knowledge by vested corporate (...) and government interests. Public conservatism is reflected in the suspicion toward new knowledge and new artifacts and in questioning whether science and technology truly improve the human condition. (shrink)

Joseph H. Kupfer _Visions of Virtue in Popular Film_ Boulder, Colorado: Westview Press, 1999 ISBN 0-8133-6721-2 236 pp.