What is film? Why are movies important? Why do we care about them in the way we do? How do we think of the connections between the projected image and what it is actually an image of? Most movie-goers assume that they are entitled to make jugments and come to conclusions about the movies they see--to evaluate how "good" they are, or what they "mean." But what do they base, or what should they base, their judgments on? In this (...) thought-provoking new book, Stanley Cavell, a professor of philosophy and aesthetics at Harvard who has long taken a lively interest in movies, looks closely at these and other questions concerning America's most popular art and the perceptions we make of, by, and through it. His answers are surprising and important--not only to our understanding of film and of ourselves, but to our expectations of life and art. Mr. Cavell's explorations of some of Hollywood's stars, directors, and most famous films--as well as his fresh look at Godard, Bergman, and other great European directors--will be of lasting interest to movie-viewers and intelligent people of all ages. (shrink)

What might film’s contribution be to the work of acknowledgment, apology, and moral repair? James Baldwin's 1976 book on film, The Devil Finds Work, can be read as a reflection on the role that film might play in the extensive, multi-dimensional, public task of, as he puts it, putting ourselves in touch with reality, specifically the reality of American racism as an integral to American reality, its past and present. Developing Baldwin's thought, this paper outlines two broad (...) types of cinematic pictures or conceptions of racism: (1) films can present racism as a special event, or (2) films can present racism as a pervasive, structural reality. The former is complicit in a racist ideology that pictures racism as exceptional, rare, and unusual; the latter functions to critique such an ideology by picturing racism, not as a departure from the norm, but as constitutive of it. I develop a formal account of these cinematic pictures or conceptions through close analysis of two films made three years apart: Norman Jewison’s 1967 In the Heat of the Night (which Baldwin also analyses) and Michael Roemer’s 1964 film Nothing But a Man. (shrink)

Clown characters have always played a decisive role when depicting social conflicts. Wearing their masks, they embody and reveal cultural anxieties.

Martin Scorsese’s adaptation of Shusako Endo’s novel Silence takes up the anguished experience of God’s silence in the face of human su-ering. .e main character, the Jesuit priest Sabastião Rodrigues, /nds his faith gu0ed by the appalling silence of God. Yujin Nagasawa calls the particularly intense combination of the problems of divine hiddenness and evil the problem of divine absence. Drawing on the thought of Jesuit founder, Ignatius of Loyola, this essay will explores the way Scorsese’s Silence might enable viewers (...) to both encounter the problem of divine absence and /nd a way of living with it, thereby o-ering a practical response to the problem of divine absence. .is mode of response makes the sort of a0itude Nagasawa recommends accessible by grounding it in an experience akin to catharsis, delivering a clarifying emotional consonance. In this sense, I will argue, /lm can be a practical theodicy. (shrink)

on Film and Phenomenology by Allan Casebier.

_The Undercut Reader_ Edited by Nina Danino and Michael Maziere London: Wallflower Press, 2003 ISBN 1-903364-47-7 277 pp.

The cinematic Other is interpreted as an unconscious personality, a denied part of the protagonist that appears in his life as a shadowy menace who won't go away. Overall the book aims to show how movies envision the unconscious Other we all too often project on other people.

The cinematic Other is interpreted as an unconscious personality, a denied part of the protagonist that appears in his life as a shadowy menace who won't go away. Overall the book aims to show how movies envision the unconscious Other we all too often project on other people.