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)

The purpose of this paper is to examine the ontological effects of digital technology, and determine whether digital films, traditional films, and pre-traditional motion pictures belong to the same category. I begin by defining the parameters of my inquiry, and then consider the two most significant consequences of the new technology. §2 proposes a decisive refutation of the causal relationship between reality and photography. §3 identifies an end to the dominance of photorealistic film over animation, and argues for an (...) inversion of that relationship, whereby animation is paramount. Finally, I consider the implications of these consequences for film ontology, compare theories, and conclude in favour of Berys Gaut, for whom digital film is the latest incarnation of a history of moving pictures that stretches back for centuries. (shrink)

Our intention is to focus attention upon the nature of the film medium and the peculiar possibilities that it affords. We will approach the study by a double method: a phenomenological inventory, and a comparison with other cognate artforms. The comparison with other artforms, most especially painting, theater, and the novel, will show the peculiarities of film.

The present essay analyzes the reflections on the ontology of cinema in the works of Stanley Cavell. In particular, it highlights the way in which Cavell foresees in the philosophy of ordinary language as in Hollywood comedy, as many forms of that effort of redemption from the human condition which he calls skepticism, understood not so much as a philosophical position but rather as an underlying condition, as a reaction to the knowledge conceived as human knowledge, that is, experienced (...) as potentially imperfect. Cinema, therefore, turns into an unveiling of the inadequacy of systematic philosophical frameworks and underlines the insufficiency of the interpretative patterns of research that either end up at an intellectualistic level or return, instead, to a mystic-intuitionist one. (shrink)

이 글은 세계 속 신체-주체와 지각 대상의 접속에 의한 지각 현상의 특성을 밝히고, 이를 바탕으로 영화 속 영화이미지의 현상학적 특성과 현상학적인 존재론적 살로서의 영화 이미지의 특성 및 영화이미지의 존재 의미를 밝히는 것을 목적으로 한다. 이런 밝힘으로 말미암아 현상학적인 존재론적 살로서의 영화이미지의 가치가 드러날 것이다. 현상학적 지각 현상은 차이장 속 차이의 지각 현상이 되고 차이 존재를 토대로 지각 현 상 자체를 나타내는 차이존재론적 지각 현상이 된다. 지각 현상은 운동적인 지각지평-차 이장 속 역동적인 차이들이 시공적으로 생산되고 있는 총체적 시스템의 지각 현상이다. 시간적 (...) 게슈탈트로서의 영화란 단순히 이미지들을 모아놓은 집합이 아니라, 이다. 영화이미지는 가상이면서도 현실이고 현실이면서도 가상이 되고 있으며, 차이장 속 가상과 현실을 맞물리게 하는 맞물림의 시뮬라크르 가 되고 있다. 영화이미지들의 관계적인 접속적 상황에서 영화적 현재는 영화적 과거와 영화적 미래 에 대한 시간적 살을 가진다. 영화이미지들은 서로에 대한 대립과 대립적 살을 가지고, 갈등, 권력, 사랑의 관계적인 영화이미지들은 각각 서로에 대하여 갈등과 갈등적 살, 권력과 권력적 살, 사랑과 사랑의 살을 가진다. 영화이미지들의 교차는 살적인 새로운 생성 의미 와 그 영화이미지들의 존재 의미를 드러내고, 관객은 영화이미지들의 살을 통해서 영화이 미지의 의미와 존재 의미 및 자신의 존재 의미를 느끼고 의식한다. 영화 속 영화이미지들은 항상 컨텍스트-영화이미지들로서 작동한다. (shrink)

This paper explores some issues concerning the ontology of photography. It would appear that photography’s ontology bears some significant specificities comparing with other art forms. First, the study of negative film and printed photograph relations shows us that photography has a multi-layered ontology, since although the latter is ontologically dependent upon the former, it stands autonomously as work of art. Second, I will consider the problem of forgery in photography. It seems that photographs are autographic and (...) allographic, fakeable and unfakeable. Third, ontological status of negative film will be explored. Apparently, current ontological categories aren’t pertinent as far as negative-photograph’s ontology is concerned. That’s why, relying on Gérard Genette ontological notions, I propose to consider the negative film as «immanence» and the printed photograph as work’s «transcendence». In this regard, printed photograph functions as a manifestation of the negative film. (shrink)

ABSTRACTThis review essay of Shawn Loht’s new book, Phenomenology of Film: A Heideggerian Account of the Film Experience, not only offers an ontological reading of the filmic experience inspired by Heidegger’s philosophy but also contributes substantially to the ongoing debate of whether or not film is a medium that is legitimately philosophical. In addition to confronting unique ideas about film that emerge from Loht’s analysis of Heidegger’s phenomenological ontology of Dasein, including a reading of later (...) Heidegger of the “Turn,” this essay also seeks to think with and then beyond Loht in a way that might inspire readers to further pursue these issues in relation to a potentially reconceived understanding of the practice of film-as-philosophy. (shrink)

Introduction: acts, film, religion: context and perspectives -- Constituting a figure of an activist citizen -- I act therefore I am -- I create therefore I am: towards the cinema of act -- Constructing activism through film: creation of new scene -- Creation of space unbroken links between the citizens: Ana Arabia -- Acts of citizenship and the foreign "other": circles -- Enacting (European) citizenship through film: Inferno -- Creating a rupture: Wadjda -- Conclusion: creative acts, transformation (...) and activist citizens. (shrink)

Introduction: why did philosophy go to the movies? -- The analytic-cognitivist turn. The empire strikes back: critiques of "grand theory" -- The rules of the game: new ontologies of film -- Adaptation: philosophical approaches to narrative -- From cognitivism to film-philosophy. A.I.: cognitivism goes to the movies -- Bande à part: Deleuze and Cavell as film-philosophers -- Scenes from a marriage: film as philosophy -- Cinematic thinking. Hollywood in trouble: David Lynch's Inland empire -- "Chaos reigns": (...) anti-cognitivism in Lars von trier's Antichrist -- Song of the earth: cinematic romanticism in Malick's The new world -- Coda: "the six most beautiful minutes in the history of cinema". (shrink)

A review of U. Mäki (ed.). Fact and Fiction in Economics, Cambridge: Cambridge University Press, 2003. pp. xvi 384. ISBN 0521 00957. As people interested mainly in theory, methodologists and philos...

The prevalence of dementia is increasing worldwide but there is still no hope of a cure. Huge resources go into biomedical research, whose reductive ‘enactment’ has severe consequences for women, who are predominantly affected by dementia. To challenge such tragic enactment, this article considers ‘multiple ontologies’ of the most common type of dementia – Alzheimer’s disease – in the popular fictional film adaptations Still Alice and A Song for Martin. Using a post-humanist account of feminist visual studies of technoscience, (...) this comparative film analysis reveals how gender supersedes AD oversteering the hierarchical dualisms between health and pathology, human and nonhuman, and biomedical and artistic modes of knowing about Alzheimer’s. The author argues that these films stress the potential of the arts, as a multisensorial post-humanist embodied state of becoming with AD, to challenge hierarchical dualisms and innovatively contribute to dementia care. (shrink)

In addressing the fundamental issues of Merleau-Ponty’s last ontology, for which Being is an expressive movement, this paper focuses on Merleau-Ponty’s reflections on painting, sculpture and, mainly, cinema. Two reasons justify such a choice. The first one is that Merleau-Ponty’s reflections on films as artistic objects are starting to become better known, while an exclusive privilege has been too long given to his texts on painting, sculpture and literature. An enrichment of our reading of his aesthetics and ontology (...) is thus made possible. The second reason is that, although it is true that Merleau-Ponty’s general aesthetic doctrine introduces us to the question of movement, of its meaning and its ontological status as “expression,” it is even more true that, in the framework of this general aesthetic doctrine, his analyses of the mode of expression of cinematographic images become especially significant. (shrink)

In addressing the fundamental issues of Merleau-Ponty’s last ontology, for which Being is an expressive movement, this paper focuses on Merleau-Ponty’s reflections on painting, sculpture and, mainly, cinema. Two reasons justify such a choice. The first one is that Merleau-Ponty’s reflections on films as artistic objects are starting to become better known, while an exclusive privilege has been too long given to his texts on painting, sculpture and literature. An enrichment of our reading of his aesthetics and ontology (...) is thus made possible. The second reason is that, although it is true that Merleau-Ponty’s general aesthetic doctrine introduces us to the question of movement, of its meaning and its ontological status as “expression,” it is even more true that, in the framework of this general aesthetic doctrine, his analyses of the mode of expression of cinematographic images become especially significant. (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)

Isaac Bashevis Singer’s short story “Yentl the Yeshiva Boy”.) needs to be read in the light of traditional Jewish sources. The question is, how does it stand up to modern hypotheses of gender construction? Yentl was originally published in Yiddish and was translated to English in the latter half of the twentieth century. We will see that the context within which to understand the story properly is encoded in the story itself, as Umberto Eco explains in his The Role of (...) the Reader and The Limits of Interpretation. We will see how the concept of a person’s gender, as a construction by social norms, is viewed within mainstream Jewish thought. Some textual issues and contemporary ideas of gender are applied to the story. Finally, the feature film Yentl. 1983. Yentl [film]. Los Angeles: United Artists Films.) is also compared the short story on which it was based as an example of translation and re-interpretation. (shrink)

Examines the overlap between film and philosophy in three distinct ways: epistemological issues in film-making and viewing; aesthetic theory and film; and film as a medium of philosophical expression. This title available in eBook format. Click here for more information . Visit our eBookstore at: www.ebookstore.tandf.co.uk.

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)

In this paper, I defend a conception of Deleuze’s two volumes dedicated to film – Cinema I: The Movement-Image, and Cinema II: The Time-Image – as protracted expressions of his political philosophy. In this context, I will elaborate the difficult and entwined political claims Deleuze makes on behalf of cinema: that it is capable of engendering a tentative ‘belief in the world’, such as is the necessary correlate of political action; that it captures the contemporary political fact that ‘the (...) people are missing’, as a unified or coherent political agent; and finally that it might reveal those ‘impossible’ or ‘intolerable’ situations which would provoke such a people into being. In advancing this conceptual triumvirate, I will argue that the claims made here on behalf of cinema overspill the art form itself, linking up with Deleuze’s broader political ontology of thought and constituting a generalised political philosophy proper to so-called ‘late-capitalism’. (shrink)

In this paper, I defend a conception of Deleuze’s two volumes dedicated to film – Cinema I: The Movement-Image, and Cinema II: The Time-Image – as protracted expressions of his political philosophy. In this context, I will elaborate the difficult and entwined political claims Deleuze makes on behalf of cinema: that it is capable of engendering a tentative ‘belief in the world’, such as is the necessary correlate of political action; that it captures the contemporary political fact that ‘the (...) people are missing’, as a unified or coherent political agent; and finally that it might reveal those ‘impossible’ or ‘intolerable’ situations which would provoke such a people into being. In advancing this conceptual triumvirate, I will argue that the claims made here on behalf of cinema overspill the art form itself, linking up with Deleuze’s broader political ontology of thought and constituting a generalised political philosophy proper to so-called ‘late-capitalism’. (shrink)

‘Postmodern’ is a concept now deposited in the word banks of both highbrow cinephilesand lowbrow arbiters of popular filmic taste. How these two groups of critics deploy theterm, however, widely differs. Critiquing Wes Anderson’s The Life Aquatic with SteveZissou , for instance, Entertainment Weekly’s Owen Glieberman writes: ‘Once again,[Anderson] creates a hermetic, glassed-in movie world of postmodern anachronisms thatcharms and distances in equal measure’ . Characteristic of most reviewers of LifeAquatic, Glieberman uses ‘postmodern’ in a purely aesthetic sense. Although this (...) apoliticaluse of the term is endemic to the business of popular film criticism, part of the reasoncritics deployed ‘postmodern’ bereft of all cultural and political connotations in the case ofLife Aquatic can be chalked up to the film itself. Any overtly political meaning in the film ismediated by what Todd Gilchrist calls the film’s ‘fantastic, just-left-of-realityuniverse.’ Anderson’s idiosyncratic filmmaking style – his penchant for what Josh Bell calls‘empty collections of quirks’ and ‘irrelevant eccentricities’ which prize ‘false clevernessover story and content’ – exacerbates the problem of politicizing Life Aquatic’spostmodernism . A growing cult of the author begets the faciledismissal or deification of Life Aquatic based on tenuously apolitical criteria. (shrink)

This article responds to critical views of John Rhym, Martin Rossouw, Ludo de Roo, and Annie Sandrussi on my 2017 book Phenomenology of Film: A Heideggerian Account of the Film Experience. The article also takes up positive footholds from the analyses of Chiara Quaranta and Jason Wirth. The main topics addressed include Martin Heidegger’s ontic-ontological distinction; the notion of film-as-philosophy; being-in-the-world read as being-in-the-film-world; and questions surrounding the facticity and identity of the film viewer.

In 1988, Michael Nyman composed the score for Peter Greenaway’s film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman’s compositional activity as a “generative performance” and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix).1 According to one view, Nyman’s score for Drowning by the Numbers—the musical (...) work—is the product generated by Nyman’s compositional activity (namely, an abstract object) and, more generally, artworks are identified with the products generated by compositional or other creative activities. Let’s call this view The Product Theory. By contrast, according to another view, Nyman’s score for Drowning by Numbers is the generative performance itself (namely, Nyman’s compositional activity) and, more generally, artworks are identified with generative performances themselves. Following David Davies in Art as Performance, let’s call this view The Performance Theory (80). In that book, Davies argues for The Performance Theory and against The Product Theory. (shrink)

Everyone knows what noise is. Or do they? Can we in fact say that one man's noise is another teenager's music? Is noise in fact only an auditory phenomenon or does it extend far beyond this realm? If our common definitions of noise are necessarily subjective and noise is not just unpleasant sound, then it merits a closer look (or listen). Greg Hainge sets out to define noise in this way, to find within it a series of operations common across (...) its multiple manifestations that allow us to apprehend it as something other than a highly subjective term that tells us very little. Examining a wide range of texts, including Sartre's novel Nausea and David Lynch's iconic films Eraserhead and Inland Empire, Hainge investigates some of the Twentieth Century's most infamous noisemongers to suggest that they're not that noisy after all; and it finds true noise in some surprising places. The result is a thrilling and illuminating study of sound and culture. (shrink)

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

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the (...) film medium’s intersection with contemporary social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (shrink)

In my paper, I establish an Ingardenian phenomenological ontology of virtualized ficta, i.e., fictional entities introduced to virtual gaming. The first Section of my paper provides an ontology of virtualized ficta, focusing primarily on their ‘‘existential moments’’. But in order to have a firm grasp of the ontological aspects grounding the virtual work, it’s important to engage its strata. This is what I attempt to do in Section 1.2. Virtualized ficta’s intentional dependencies are strongly manifest in what I (...) call the ‘‘strata of the virtual work’’. That is, I repurpose Ingarden’s strata of the literary work, the picture, and the film to showcase that virtualized ficta, from the bottom up (i.e., from their pure ontology to aesthetics) are purely intentional entities. In short, I argue for a purely intentional account of virtualized ficta as ficta-made-virtualia, whose ontological status is determined by the creative acts of game developers and gamers. (shrink)

This article examines work by the artist Eduardo Paolozzi related to the philosopher Ludwig Wittgenstein, arguing that Paolozzi’s print series As Is When, executed in 1964-65, together with work from nearly three decades later (Manuscript from Cassino), can be seen as a comprehensive examination of Wittgenstein’s earlier and later philosophy. Further, this article argues that Paolozzi’s take on Wittgenstein forms a new aesthetic ontology of “film”, embedding its reading of Wittgenstein in a reified Platonic cave, whose escaped philosopher (...) finds himself basking only in the light of the artificial sun of the flickering cinema light. (shrink)

In Film and Phenomenology, Allan Casebier develops a theory of representation first indicated in the writings of the father of phenomenology, Edmund Husserl, and then applies it to the case of cinematic representation. This work provides one of the clearest expositions of Husserl's highly influential but often obscure thought. It also demonstrates the power of phenomenology to illuminate the experience of the art form unique to the twentieth-century cinema. Film and Phenomenology is intended as an antidote to all (...) hitherto existing theories about the nature of cinematic representation, whether issuing from classic sources such as the film theory of Andre Bazin or the post-structuralist synthesis of Lacanian psychoanalysis, Barthesian textual analysis and Metzean cine-semiotics. Casebier shows how a phenomenological account of representation will further the aims of any film theory. Developing a viable feminist film theory, legitimizing the documentary, answering the challenge of Derridean deconstruction, properly theorizing narrativity, Film and Phenomenology argues that theory of film must be Realist both with respect to epistemology and ontological issues. In this way, this work runs contrary to the whole course of contemporary film theory which has been deeply anti-Realist. (shrink)

Traditional health sciences (including nursing) paradigms, conceptual models, and theories have relied heavily upon notions of the ‘person’ or ‘patient’ that are deeply rooted in humanistic principles. Our intention here, as a collective academic assemblage, is to question taken‐for‐granted definitions and assumptions of the ‘person’ from a critical posthumanist perspective. To do so, the cinematic works of filmmaker David Cronenberg offer a radical perspective to revisit our understanding of the ‘person’ in nursing and beyond. Cronenberg's work explores bodily transformation and (...) mutation, with the body as a fragile and malleable vessel. Cronenberg's work allows us to interrogate the body in all its complexity, contingency, and hybridity and provides avenues of rupture within current understandings of ‘the person’. Reinventing the definition of what it means to be human, critical posthumanism offers opportunities to both critique humanist theories and build affirmative futurities. Also drawing on the work of Deleuze and Guattari, specifically, their concept of becoming, we propose a critical posthumanist alternative to the conceptualization of the person in the health sciences, that of the becoming‐mutant, so frequently explored in Cronenberg's films. Such a conceptualization permits the inclusion of various technological interventions of the contemporary subject: The postperson. This position offers the health science disciplines a radical reconceptualization of the conceptual and theoretical approaches, extending beyond those trapped within the quagmire of humanistic principles. (shrink)

In this paper, confronted are two radical currents of thought about the film image. In a first step, demonstrated is how some Marxist theorists define the film image as ontologically grounded in alienation and the destruction of non-mediated presence due to its technical origin, as well as its effects. In a second step, I try to show how André Bazin, influenced by phenomenology and taking up identical premises as the Marxists, came to diametrically opposite conclusions: it isn’t but (...) the film image that discloses the real. Drawing on the work of Jacques Rancière, Jean-Luc Nancy and Giorgio Agamben, in a third step I establish a certain synthesis between these two currents and examine how spectacle is guarded, but also re-evaluated within the regime of film images. Through this re-evaluation, one gets a glimpse at the contours of an exigent aesthetic program that in some respects conforms to, while also deviating from eminent ideas on cinematic postmodernism. (shrink)

Gilles Deleuze and belief in the world -- A struggle against oneself: cinema as technology of the self -- The evidence of film and the presence of the world: Jean-Luc Nancy's cineastic ontology -- Cinema as human art: rescuing aura in gesture -- Exhibiting or presenting?: politics, aesthetics and mysticism in Benjamin's and Deleuze's concepts of cinema -- Made and yet true: on the aesthetics of presence of the heroic -- An art of gesture: returning narrative and movement (...) to images -- It is if we could trust: fiction and aesthetics of the political -- All you need is love: Cavell and the comedy of remarriage of film and philosophy. (shrink)

What sort of thing is film? Before we can answer this question, we’ll have to first determine which things count as “films” in the relevant sense and work out what we ought to look for in an acceptable answer. There is little consensus among philosophers of film on any stage of this process. Here I make the case for a particular understanding of “film” to investigate as well as a particular set of criteria to use in that (...) investigation. I then apply those criteria to a number of available candidate theories. In the end, I do not offer an answer to our question so much as an approach to it, along with some strategies for future research. (shrink)