Might fiction films have cognitive value, and if so, how might such value interact with films’ artistic and aesthetic values? Philosophical consideration of this question tends to consist in either ceteris paribus extensions of claims relating to prose fiction and literature; meta-philosophical inquiries into the capacity of films to be or do philosophy; or generalised investigations into the cognitive value of any, and thereby all, artworks. I first establish that fiction films can be works of art, then address this (...) lacuna and identify three hitherto unrecognised values relevant to the issue of learning from fiction films. These values are (i) a film’s stance-based cinematic value, which is neither an artistic nor an aesthetic value, but which pertains to the integration of a film’s content, its form, and its themes and/or theses; (ii) a film’s dramatic value, which recognises the use of dramatic argumentation to enable us to make sense of agents’ intentional actions; and (iii) a film’s humanistic value which acknowledges a film’s power to provide illuminating insights into the human condition. In tandem with a series of sceptical arguments that question the very notion of cognitive value, I demonstrate how stance-based cinematic value, dramatic value, and humanistic value can provide fresh ways with which to understand and appreciate that we learn from films, what we learn from films, and how we learn from films. Grouping these values together under the rubric of cinematic humanism offers new resources for a paradigm shift capable of staying true to the spirit that informs both sides of the cognitivist/non-cognitivist debate whilst cutting through the Gordian knot it has become. (shrink)

This article examines the philosophy of Gilles Deleuze and the poetry of Arthur Rimbaud in terms of the intersection between corporeality, temporality, and the political. The first part analyzes the deconstruction of lyrical subjectivity in Rimbaud’s verse in relation to the breakdown of the “sensory-motor link” described in the first volume of Deleuze’s Cinema; it discusses these homologous movements as a release of free-floating bodily potentiality. The second part shows how the shift from the first to the second volume of (...) Deleuze’s Cinema and the shift from verse to prose poetry in Rimbaud constitute the formal dimensions of a shared political project based on the transformation of bodily life, or a biopolitical transformation. This project can be understood as communist insofar as it attempts to liberate time from capital for the body and to produce a social form based on sharing the common. (shrink)

Part of a series of highly entertaining books on the history of sinning. Eating too much is one of the Western world's greatest problems, but relatively few people would consider it a crime against God. Yet even as gluttony has ceased to be an evil, food and dieting have become a cultural obsessions, with millions of pounds expended on mortifying the flesh with punishing diet and exercise regimes. This brief history of gluttony traces the changing cultural attitudes towards food and (...) pleasure, scarcity and abundance. It reveals how notions of saintliness and purity have helped form modern views of enjoyment, self-mortification, and ultimately nutrition. Restaurant-goers and readers of gourmet magazines rationalize their pursuit of too much food in many ways, but does a slight tinge of guilt makes your meal taste that much better? This book provides the answer, thoroughly exploring humankind's attempts to quell its chief survival strategy - eating. (shrink)

cinematic proposition to the field of philosophical cinema and literature, in hommage to Henry-Lévi.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Scale Theory: A Nondisciplinary Inquiry by Joshua DiCaglioS. Scott GrahamScale Theory: A Nondisciplinary Inquiry. By Joshua DiCaglio. Minneapolis: University of Minnesota Press, 2021. 349 pp. Paperback: $30.00. ISBN: 978-1-5179-1207-9.Scale Theory embodies its title in every possible way. It offers both a deep dive into and a 10,000-foot view of scale, scalar thinking, and the role of scale in scientific inquiry. The subtitle, A Nondisciplinary Inquiry, is no less (...) apt. Author Joshua DiCaglio blends insights from rhetoric, philosophy, literary studies, and mysticism to create a novel account of scalar thinking. In so doing, he weaves together detailed thought experiments, the work of Gregory Bateson, and Philip K. Dick's account of an extraterrestrial communication he received while under the influence of anesthesia. Provocatively, Scale Theory treats these diverse intellectual resources as coequal contributors to an emerging theory of scale and scalar thinking. Within this nondisciplinary framework, the book is devoted to advancing two primary theses: (1) Notions of scale are undertheorized in science studies and related strands of new materialisms; and (2) Proper attention to questions of scale within these theoretical traditions should prompt a more thoughtful reconsideration of the merits of mystic holism. Ultimately, Scale Theory makes a compelling case for the first thesis and advances inquiry usefully in this area. With respect to the second thesis, DiCaglio refers to a certain academic "allergy" to holism (99), and I must confess I share this allergy. That said, I assume readers already predisposed favorably toward mystic holism are likely to find Scale Theory's attention to the second thesis thoughtful and engaging.Scale Theory is organized into three distinct parts. Part 1, "Algorithms for a Theory of Scale," presents three interrelated thought experiments that call upon readers to imagine themselves at various distances and vantage points with respect to several objects of interest. Part 1 is stylistically [End Page 388] Wittgensteinian. Like the Tractatus-Logico Philosophicus (Wittgenstein 2013) or Latour's "Irreductions," (1993), the thought experiments unfold as a series of numbered and nested propositions, each postulating or interrogating an emerging concept in DiCaglio's theory of scale. Part 2, "Configurations for a Theory of Scale," returns the reader to more familiar styles of prose, providing a sort of review of the relevant literature and its relationship to the insights of the thought experiments. Finally, part 3, "Rhetorical Technologies for a Theory of Scale," reflects on the twin marginalizations of rhetoric and mysticism in mainstream Western academia and argues for a new embrace of disembodied inquiry.The aforementioned thought experiments of part 1 outline DiCaglio's theories of scale, scalar thinking, and scalar analysis. The discussion makes extensive use of visual and cinematic metaphors to aid the reader's consideration of scalar questions. Ultimately, DiCaglio posits that scale is a function of the relationship between the "'being' of phenomena" and "the one who is measuring" (8). He argues, therefore, that "scale functions at a level above ontology and epistemology: scale is a means of orienting yourself both to experience and the being of things" (8). In making this argument, Scale Theory reflects on a range of scientific practices that require gradients of scale. Microscopy, telescopy, and simulations all provide scientists with tools to escape the mundane scales of embodied human experience. DiCaglio argues that "science must always find itself grouping things together, speaking of species, types, systems, and so on which exist on a different logical type than the individual encounters that make up these groups" (41). The taxonomic activities of scientific practice require shifts in scale to account for kingdoms, phyla, orders, genera, species, and all manner of nonbiological analogs.Within this framework, scale functions as a sort of meta-ontology that allows objects to be provisionally identified and delineated. Echoing Bateson, DiCaglio argues thatIn order for any thing to be said to exist whatsoever, a differential must exist out of which a difference can be discerned. Every differential occurs on some scale at which a fluctuation or movement is able to make a difference. If one goes to a smaller scale, any given differential is no longer able to be used to register a difference.(51... (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

The purpose of this paper is to re-examine the debate about cinematic motion in terms of the necessity for reception conditions in art. I shall argue that Gregory Currie’s rejection of weak illusionism – the view that cinematic motion is illusory – is sound, because cinematic images really move, albeit in a response-dependent rather than garden-variety manner. In §1 I present Andrew Kania’s rigorous and compelling critique of Currie’s realism. I assess Trevor Ponech’s response to Kania in (...) §2, and show that his focus on the cinematic experience is indicative of the direction the debate should take. §3 demonstrates that the issue is underpinned by the question of the role of reception conditions in the experience of art. In §4 I apply my observations on reception conditions to the problem of cinematic motion and conclude that Kania’s objections are unsuccessful due to his failure to acknowledge the necessary conditions for cinematic experience. (shrink)

A Cinematic Humanist approach to film is committed inter alia to the following tenet: Some fiction films illuminate the human condition thereby enriching our understanding of ourselves, each other and our world. As such, Cinematic Humanism might reasonably be regarded as an example of what one might call ‘Cinematic Cognitivism’. This assumption would, however, be mistaken. For Cinematic Humanism is an alternative, indeed a corrective, to Cinematic Cognitivism. Motivating the need for such a corrective is (...) a genuine scepticism about the very notion of the cognitive. Using historical reconstruction, I reveal how ‘cognitive’ has become a multiply ambiguous, theory-laden term in the wake of, indeed as a consequence of, Noam Chomsky’s original stipulative definition. This generates a constitutive problem for cognitivism as both a research programme and a set of claims, and as such poses a trilemma for philosophers of film, art and beyond. I propose a Cinematic Humanist solution to the problematic commitments of cognitive film theorising and, in so doing, gesture towards a methodology I am calling ‘philosophy of film without theory’. (shrink)

Bringing together Deleuze, Blanchot, and Foucault, this book provides a detailed and original exploration of the ideas that influenced Deleuze's thought leading up to and throughout his cinema volumes and, as a result, proposes a new definition of art. Examining Blanchot's suggestion that art and dream are "outside" of power, as imagination has neither reality nor truth, and Foucault's theory that power forms knowledge by valuing life, Eugene Brent Young relates these to both Deleuze's philosophy of time and his work (...) with Guattari on art. In doing so, he uses case studies from literature and popular film, including Kafka's Castle, Villeneuve's Arrival, and Kubrick's Eyes Wide Shut. Providing important new insights for those working in literary and cinematic studies, this book advances a new definition of art as that which reverses the realities and truths of power to express obscure ideas and values beyond both our exterior and interior worlds. (shrink)

In this book, Tal S. Shamir sets out to identify cinema as a novel medium for philosophy and an important way of manifesting and developing philosophical thought. The volume presents a comprehensive analysis of the nature of philosophy's potential-or, more strongly put, its need-to be manifested cinematically. Drawing on the fields of cinema, philosophy, and media studies, Cinematic Philosophy adds film to the traditional list of ways through which philosophy can be created, concentrating on the unique potential of the (...) cinematic medium to effectively put forward and create philosophy. In the process, the book opens up innovative horizons for new types of knowledge and wisdom grounded in contemporary contexts and philosophical thought. Philosophy, best characterized as the love of wisdom, is not dependent on a specific medium nor solely situated within written text or oral lectures. Shamir asserts that philosophy can, should, and must be manifested and identified in a range of different platforms. (shrink)

This article demonstrates that Memento (Christopher Nolan, 2000) meets both conditions of Paisley Livingston's bold thesis of cinema as philosophy. I delineate my argument in terms of Aaron Smuts's clarifications of Livingston's conditions. The results condition, which is concerned with the nature of the philosophical content, is developed in relation to Berys Gaut's conception of narrational confirmation, which I designate ‘experiential affirmation.’ Because experiential affirmation is a function of cinematic depiction, it meets Livingston's means condition, which is concerned with (...) the capacities of the medium or art form. I address two objections to my argument and conclude with a brief commentary on the implications for the broader relationship between film and philosophy. (shrink)

Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We (...) are right if we mean that the film does well what movies often do well. We are wrong if we mean that the film is good for doing what is merely distinctive of film. This issue has important implications for understanding the role of the medium in artistic evaluation. I argue that we should reject Gaut’s claim because it entails an implausibly strong medium specificity thesis. (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)

As artforms, film and street art seem incompatible. Contra this incompatibility, I investigate their combination: cinematic street art. Two promising cases are the artworks MUTO and Repopulate, but I argue neither is suitable. MUTO only counts if I accept the transparency thesis, the claim that photographs allow us to literally see their depicta. Repopulate only counts if we reject Noel Carroll’s requirement that a cinematic performance token isn’t itself an artwork. However, these imperfect cases demonstrate what is required (...) in order to have cinematic street art: the artwork is a 1) aconsensual artwork that 2) does not merely use street art as imagery or 3) merely use the street as a performance space. I introduce two hypothetical artworks inspired by this approach and discuss their merits, as well as their pitfalls relevant to my own desiderata. As such, this article serves as the foment for broader discussion within the philosophy of street art. (shrink)

American History X (hereafter AHX) has been accused by numerous critics of a morally dangerous cinematic seduction: using stylish cinematography, editing, and sound, the film manipulates the viewer through glamorizing an immoral and hate-filled neo-nazi protagonist. In addition, there’s the disturbing fact that the film seems to accomplish this manipulation through methods commonly grouped under the category of “fascist aesthetics.” More specifically, AHX promotes its neo-nazi hero through the use of several filmic techniques made famous by Nazi propagandist Leni (...) Riefenstahl. Now most critics admit that, in the end, the film claims to denounce racism and attempts to show us the conversion of the protagonist to the path of righteousness, but they complain that nonetheless the film (perhaps unintentionally) ends up implicitly promoting the immoral worldview it rather superficially professes to reject in its final act. This charge of hypocrisy is connected to another worry: the moral conversion in the film is said to fall flat because the intellectual resources on display to support the character’s racism are not counterbalanced by equally explicit (but superior) arguments for the anti-racist position ultimately embraced by the character. In other words, just as the devil is said to get all the good lines in Milton’s Paradise Lost, in AHX the racists get all the arguments. This has been taken to be a morally problematic flaw of the film. Critics lament that Derek’s conversion seems to result not from relevant logical inferences and valid rational argumentation but from overly simplistic and arguably egoistic insights (e.g., “has anything you've done made your life better?”) combined, perhaps, with a hackneyed cliché (in prison, one of his best friends is a black person!) In this paper I’ll attempt to rebut these charges and defend the film as a powerful, and powerfully moral, work of art. I’ll be suggesting that the seductive techniques employed allow for many viewers a degree of sympathy towards the protagonist that is crucial, both for making that character’s more horrific actions especially unsettling, and also for making his eventual conversion plausible and ultimately compelling. I’ll also argue that the manner in which his conversion is presented is in fact subtler than many critics have allowed: Derek’s transformation is not artificial or implausible but is depicted as resulting from a cumulative series of emotionally powerful life events and personal engagements. It is certainly true that it is not represented in the way some would seemingly have preferred, i.e. as straightforwardly resulting from a process of gradual intellectual improvement in Derek’s reasoning on questions of race and politics. However, I’ll argue that the decidedly emotional basis of his moral evolution is both refreshingly realistic and no hindrance to accepting his conversion as rational. Finally, properly understanding the legitimacy of the emotional foundations of much moral thought will also allow us to appreciate the ways in which our initial worries about this film’s (not insignificant) ability to persuade viewers through the engagement of emotions need not, in itself, be seen as a barrier to endorsing the film as a morally praiseworthy work. (shrink)

The work which this author planned to call The Prose of the World, or Introduction to the Prose of the World, is unfinished.

Guy Debord (1931-1994) was the most influential member of the Situationist International, the avant-garde group that helped trigger the May 1968 revolt in France. His book The Society of the Spectacle is considered by some to be the most important theoretical book of the 20th century. But while Debord's written work is some of the most notorious in the world of political and cultural radicalism, his films have remained tantalisingly inaccessible. Knabb's translation accompanies that long awaited English versions of these (...) films. Illustrated with 62 stills. (shrink)

This article analyses the British TV drama Warriors, investigating military masculinities and their cinematic attachments to specific nationhoods. The author’s main argument is that Warriors engages in a negotiation of ontological differences through production of military masculinities, situated within specific time–space coordinates. The story of the war is told using the classical war movie genre, underpinned by a tripartite gendered discourse that links feminization, victimhood and peace, on the one side, with two kinds of military masculinities, on the other (...) side: first, the heroic-moral-military masculinity of the protector and defender and second, the vicious-ethnic-military masculinity of the ‘local’ men. As the drama’s characters stand for the specific symbolic geographies and histories, we see different ontological worlds appearing. Among them Bosnia – represented through viciousness of local masculinities and victimhood of local femininities – becomes a specific, isolated place, the ‘symbolic continent’ of the Balkans, whose singular, violent geography is separated from Europe and the West, through Orientalist and Balkanist discourses. Furthermore, it is a place with a past but no future, wherein moral geographies of peacekeeping military masculinities translate into ontologies of Self and Other. (shrink)

The “scarred villain” trope, where facial differences like scars signify moral corruption, is ubiquitous in film (e.g., Batman’s The Joker). Strides by advocacy groups to undermine the trope, however, suggest cinematic representations of facial differences could be improving with time. This preregistered study characterized facial differences in film across cultures (US vs. India) and time (US: 1980-2019, India: 2000-2019). Top-grossing films by country and decade were screened for characters with facial differences. We found that the scarred villain trope has (...) actually worsened with time, although in tandem with progress in also representing non-villainous characters with facial anomalies. Country of origin did not predict the presence of facial differences in villains or heroes. “Action” and “fantasy” movies were the most likely genres to depict villains with facial differences. Finally, villains’ facial differences crossed more facial subunits and were more likely to involve lips, chin, and mandible than when present in heroes. Our findings underscore the need for critical reflection on the role of cultural practices—even when seemingly innocuous—in shaping and maintaining negative biases against already stigmatized groups. (shrink)

How do movies evoke and express ethical ideas? What role does our emotional involvement play in this process? What makes the aesthetic power of cinema ethically significant? Cinematic Ethics: _Exploring Ethical Experience through Film_ addresses these questions by examining the idea of cinema as a medium of ethical experience with the power to provoke emotional understanding and philosophical thinking. In a clear and engaging style, Robert Sinnerbrink examines the key philosophical approaches to ethics in contemporary film theory and philosophy (...) using detailed case studies of cinematic ethics across different genres, styles, and filmic traditions. Written in a lucid and lively style that will engage both specialist and non-specialist readers, this book is ideal for use in the academic study of philosophy and film. Key features include annotated suggestions for further reading at the end of each chapter and a filmography of movies useful for teaching and researching cinematic ethics. (shrink)

Exposing and illustrating how an ongoing engagement with nihilistic alienation may contribute to, rather than detract from, the value of life, Cinematic Nihilism both challenges and builds upon past scholarship that has scrutinised nihilism in the media, but which has generally over-emphasisedits negative and destructive aspects. Through case studies of popular films, including Prometheus, The Dark Knight Rises, Dawn of the Dead and The Human Centipede, and with chapters on Scotland's cinematic portrayal as both a site of "nihilistic (...) sacrifice" and as "nowhere in particular", this bookpresents a necessary corrective, re-emphasising the constructive potential of cinematic nihilism and casting it as a phenomenon that need not be overcome. (shrink)

This book draws new connections between twentieth-century German and French film theory and practice and vitalist conceptions of life from biology and philosophy. Inga Pollmann shows how the links between the two created a modernist, experimental, and cinematic strand of vitalism in and around the movie theatre. Articulated by film theorists, filmmakers, biologists and philosophers, this cinematic vitalism maps out connections among human beings, milieus, and technologies that continue to structure our understanding of film.

Dans une lettre, Merleau-Ponty décrit ainsi l'intention qu'il a développée dans cet ouvrage, écrit pour l'essentiel en 1952 et resté depuis en chantier : «Toute grande prose est aussi une recréation de l'instrument signifiant, désormais manié selon une syntaxe neuve. Le prosaïque se borne à toucher par des signes convenus des significations déjà installées dans la culture. La grande prose est l'art de capter un sens qui n'avait jamais été objectivé jusque-là et de le rendre accessible à tous (...) ceux qui parlent la même langue. Un écrivain se survit lorsqu'il n'est plus capable de fonder ainsi une universalité nouvelle, et de communiquer dans le risque.»Le philosophe nous livre ici ses réflexions sur le langage en général, mais aussi une théorie de l'expression qui l'engage autant vers les thèmes du dialogue et du rapport à autrui, vers la problématique anthropologique de la communication, que vers l'expressivité dans l'art et dans ses premières manifestations chez l'enfant. (shrink)

Preface The Cinematic Body is a transversal, exploratory work, one that cuts across disciplinary boundaries and seeks to engage new currents in critical ...

In Cinematic Political Thought , Michael J. Shapiro investigates aspects of contemporary politics and articulates a critical philosophical perspective with politically disposed treatments of contemporary cinema. Reading such films as Hoop Dreams, Lone Star, Father of the Bride II and To Live and Die in LA through the lens of Deleuze, Derrida, Foucault and Lyotard, Shapiro demonstrates what it can mean to think the political both in terms of cinema studies and in wider aesthetic and social contexts. Cinematic (...) Political Thought is a polemical work, aimed at encouraging critical, ethical and political thinking. Its breadth of theoretical scope and empirical reference, and the innovative style of presentation will make it vital reading for anyone with an interest in the conjunction of culture and politics. (shrink)

The purpose of this paper is to defend a particular kind of cinematic realism, anti-illusionism, which is the thesis that cinematic motion is real. Following a brief introduction to realism and cinema in Section 1, I analyse Berys Gaut’s taxonomy of cinematic realism and define anti-illusionism in Section 2. Section 3 contrasts the anti-illusionist theories of Gregory Currie and Trevor Ponech with the illusionist theories of Andrew Kania and Gaut. I reconceptualize the debate in terms of Tom (...) Gunning’s cinematic animation in Section 4, focusing on the question of cinematic singletons. In Section 5 I argue that cinematic singletons both exist and undergo objective displacement—and thus for anti-illusionism. I conclude, in Sections 6–7, with responses to potential objections to my argument from Kania and Gaut. (shrink)

_Explores the philosophical, literary, and psychoanalytic significance of film endings._ Editing has been called the language of cinema, and thus a film’s ending can be considered the final punctuation mark of this language, framing everything that came before and offering the key to both our interpretation and our enjoyment of a film. In _Cinematic Cuts_, scholars explore the philosophical, literary, and psychoanalytic significance of film endings, analyzing how film endings engage our fantasies of cheating death, finding true love, or determining (...) the meaning of life. They examine how endings offer various forms of enjoyment for the spectator, from the momentary fulfillment of desire in the happy ending to the pleasurable torment of an indeterminate ending. The contributors also consider how film endings open onto larger questions relating to endings in our time. They suggest how a film ending’s hidden counternarrative can be read as a political act, how our interpretation of a film ending parallels the end of a psychoanalytical session, how film endings reveal our anxieties and fears, and how cinema itself might end with the increasing intervention of digital technologies that reorient the spectator’s sense of temporality and closure. Films by Akira Kurosawa, Lars von Trier, Joon-Hwan Jang, Claire Denis, Christopher Nolan, Jane Campion, John Huston, and Spike Jonze, among others, are discussed. (shrink)

Drawing upon the work of various critical race theorists, including Frantz Fanon, Kevin Quashie, Hortense J. Spillers, Calvin L. Warren and Sylvia Wynter, this article suggests that if Blackness has historically been, and continues to be, cast outside of being and into being, or what Wynter terms désêtre, then for Blackness to give expression to itself and/or to prove (or improvise) its “aliveness” is a necessarily “poetic” process, given that poetry/ poiesis is the bringing into being of that which previously (...) did not exist. Looking at a range of films, including Arthur Jafa’s Dreams are colder than Death (USA, 2014) and Love Is the Message, The Message Is Death (USA, 2016), Barry Jenkins’s The Gaze (USA, 2021) and Paige Taul’s I am (USA, 2017), the article considers this cinematic poiesis in the light of Martin Heidegger’s philosophy of poetry, drawing out the structuring antiblackness at work in the latter and in modernity more generally, before suggesting that cinematically to present Blackness in a loving fashion/to love Blackness through film is what Denise Ferreira da Silva might term a radical and “poethical” gesture, using poetry to decolonise our white supremacist world. (shrink)

This article surveys the current debate among analytic philosophers and film narratologists about the logic and phenomenology of cinematic narration. Particular attention is given to the question of whether every film that represents a fictional narrative also represents a narrator's fictional narration.

Cinematic time -- The cinema of consciousness -- I and we : the American politics of adoption -- The malaise of our educational institutions -- Making (the) difference -- Technoscience and reproduction.

Previously unpublished fragments of Merleau-Ponty’s insights about cinema have added an important layer to our understanding of the medium. In this paper I examine these fragments along with some of Merleau-Ponty’s other observations about cinema, in the context of his work on perception and temporality. My aim is to show how his thought is relevant for understanding an important topic in film theory: cinematic point of view. With Merleau-Ponty’s phenomenological articulation of what it is to see, the possibility opens (...) up of conceptualizing the structure of cinematic point of view as a “whole” that is concomitantly dynamic and always plural. (shrink)

This book consists of prose pieces that find a new form of expression for philosophy, an expression showing the inseparability of idea and prose--the very form of truth.

Detailed exploration of the Allegory of the Cave, utilizing notions from film studies, may provide us with insight regarding the identity of the puppet masters in Plato's allegory.

Tracing the many aesthetic, philosophical, and technological parallels between cinema and astronomy, Hannah Goodwin demonstrates how filmmakers have used cosmic imagery and themes to respond to the twentieth century's moments of existential dread. As our outlook on the future continues to change, Stardust illuminates the promise of cinema to bear witness to humanity's fragile existence within the vast expanse of the universe.

This book takes Hollywood's disaster movies and their codified versions of natural disaster, post-apocalyptic survival, and extra-terrestrial threat as the starting point for an analytical trajectory toward new understandings of how cinema shapes and informs our conceptions of disaster and catastrophe. This book examines a range of films from distinct regional and industrial contexts: Hollywood, indie movies, different kinds of documentaries, and auteurist-realist cinema. Moving across and beyond critical and industrial categories that inform thinking about cinema, it contends that different (...) approaches to film style can push us to imagine disaster in distinct ways, with distinct ethical connotations. (shrink)

The Heythrop Journal, Volume 63, Issue 3, Page 425-437, May 2022.

An anti-realist stance prevalent in philosophy of film, probably less familiar to analytical than continental philosophers, raises issues that are philosophically accessible and engaging. While this anti-realist stance can be historically situated many of its constituent ideas remain influential in contemporary milieus. A common claim of anti-realism is that realist art or cinema, in part by virtue of ‘reification', is inherently ‘non-transformative’. Without rigorously refuting all manifestations of the ‘reification thesis’, key assumptions of anti-realism associated with it are challenged in (...) this paper. An aesthetic and a political-ideological anti-realist thesis are identified and critiqued. Kant’s distinction between ‘aesthetic’ and ‘mechanical art’ provides a basis for defending a form of cinematic realism that vindicates its potential transformative power. The Kantian framework provides a reference point for a comparative analysis of Brecht’s and Lukács’ views on anti-realism versus realism as well as for a favourable reconsideration of Andre Bazin’s cinematic realism. (shrink)

The oft-undiscernible boundary between imaging and imagining is especially apparent in our cinematic experience. In Buddhist philosophy, imaging and imagining are neither the same nor different, neither not the same nor not different. In this article, I argue that imaging in Buddhism refers not only to the formational process of an image out there, but also the external form's interdependent relationship with the internal forms. Likewise, imagining refers not only to the formational process of an image in here, but (...) also to how these imaginations constitute the body's relationship with the larger milieu out there. In the second half of this article, I analyse how the interdependent relationship between imaging and imagining is configured textually and in the overall cinematic experience in Bi Gan's Diqiu zuihou de yewan/ Long Day's Journey into Night. (shrink)

Orality, literacy, and an epistemic approach tovisual narrative -- Excavating the oral characteristics of visual narrative -- Mapping the literate characteristics of visual narrative -- Between the oral and literate epistemes -- The future of the orality-literacy paradigm, cinematically speaking -- The politics of (re)presentation -- Digital technology and beyond -- Concluding remarks.

A survey of current evidence available concerning Wittgenstein's attitude toward, and knowledge of, Gödel's first incompleteness theorem, including his discussions with Turing, Watson and others in 1937–1939, and later testimony of Goodstein and Kreisel; 2) Discussion of the philosophical and historical importance of Wittgenstein's attitude toward Gödel's and other theorems in mathematical logic, contrasting this attitude with that of, e.g., Penrose; 3) Replies to an instructive criticism of my 1995 paper by Mark Steiner which assesses the importance of Tarski's semantical (...) work, both for our understanding of Wittgenstein's remarks on Gödel, and our understanding of Gödel's theorem itself. (shrink)

This essay explores the 'structure of feeling' that is emerging today in tandem with new digital technologies, together with economic globalisation and the financialisation of more and more human activities. The 20th century was the age of film and television; these dominant media shaped and reflected our cultural sensibilities. In the 21st century, new digital media help to shape and reflect new forms of sensibility. Movies (moving image and sound works) continue to be made, but they have adopted new formal (...) strategies, they are viewed under massively changed conditions and they address their spectators in different ways than was the case in the 20th century. The article traces these changes, focusing on three recent moving-image works: Nick Hooker's music video for Grace Jones's song 'Corporate Cannibal'; Olivier Assayas' movie Boarding Gate , starring Asia Argento; and Richard Kelly's movie Southland Tales , featuring Justin Timberlake, Dwayne Johnson and other pop culture celebrities. (shrink)