Taking its cue from Ian C. Jarvie’s views on the philosophy of film and his approach to the ontology of films as Popperian “World Three” objects, this chapter elaborates on the latter by highlighting similar theses by Bernard Bolzano and Gottlob Frege in order to safeguard an alternative route toward the possibility of film being vehicles of philosophy.

Film is the supreme medium for mythmaking. The gods and heroes of mythology are both larger than life and deeply human; they teach us about the world, and they tell us a good story. Similarly, our experience of film is both distant and intimate. Cinematic techniques--panning, tracking, zooming, and the other tools in the filmmaker's toolbox--create a world that is unlike reality and yet realistic at the same time. We are passive spectators, but we also have a personal (...) relationship with the images we are seeing. In Cinematic Mythmaking, Irving Singer explores the hidden and overt use of myth in various films and, in general, the philosophical elements of a film's meaning. Mythological themes, Singer writes, perform a crucial role in cinematic art and even philosophy itself. Singer incisively disentangles the strands of different myths in the films he discusses. He finds in Preston Sturges's The Lady Eve that Barbara Stanwyck's character is not just the biblical Eve but a liberated woman of our times; Eliza Doolittle in the filmed versions of Shaw's Pygmalion is not just a statue brought to life but instead a heroic woman who must survive her own dark night of the soul. The protagonist of William Wyler's The Heiress and Anieszka Holland's Washington Square is both suffering Dido and an awakened Amazon. Singer reads Cocteau's films--including La Belle et la Bête, Orphée, and The Testament of Orpheus--as uniquely mythological cinematic poetry. He compares Kubrickean and Homeric epics and analyzes in depth the self-referential mythmaking of Federico Fellini in many of his movies, including 8½. The aesthetic and probing inventiveness in film, Singer shows us, restores and revives for audiences in the twenty-first century myths of creation, of the questing hero, and of ideals--both secular and religious--that have had enormous significance throughout the human search for love and meaning in life. (shrink)

Film is the supreme medium for mythmaking. The gods and heroes of mythology are both larger than life and deeply human; they teach us about the world, and they tell us a good story. Similarly, our experience of film is both distant and intimate. Cinematic techniques--panning, tracking, zooming, and the other tools in the filmmaker's toolbox--create a world that is unlike reality and yet realistic at the same time. We are passive spectators, but we also have a personal (...) relationship with the images we are seeing. In Cinematic Mythmaking, Irving Singer explores the hidden and overt use of myth in various films and, in general, the philosophical elements of a film's meaning. Mythological themes, Singer writes, perform a crucial role in cinematic art and even philosophy itself. Singer incisively disentangles the strands of different myths in the films he discusses. He finds in Preston Sturges's The Lady Eve that Barbara Stanwyck's character is not just the biblical Eve but a liberated woman of our times; Eliza Doolittle in the filmed versions of Shaw's Pygmalion is not just a statue brought to life but instead a heroic woman who must survive her own dark night of the soul. The protagonist of William Wyler's The Heiress and Anieszka Holland's Washington Square is both suffering Dido and an awakened Amazon. Singer reads Cocteau's films--including La Belle et la Bête, Orphée, and The Testament of Orpheus--as uniquely mythological cinematic poetry. He compares Kubrickean and Homeric epics and analyzes in depth the self-referential mythmaking of Federico Fellini in many of his movies, including 8½. The aesthetic and probing inventiveness in film, Singer shows us, restores and revives for audiences in the twenty-first century myths of creation, of the questing hero, and of ideals--both secular and religious--that have had enormous significance throughout the human search for love and meaning in life. (shrink)

The basic aim of this research study is to describe the Applications of the fusion of aesthetic philosophy and practical philosophy in film and television music production. This research study depends upon primary data analysis for measuring the research study to generate different questions related to the aesthetic philosophy and practical philosophy to determine the research study used smart PLS and run different results related to the variables. Modern philosophy of art includes the (...) class='Hi'>philosophy of film as a well-established subfield. Although philosophers were among the first academics to write studies of the new art form in the early decades of the twentieth century, the area did not enjoy considerable development until the 1980s, when a resurgence began. The rapid expansion of this sector can be attributed to a wide variety of factors. Let it be enough to state that the evolution of philosophy as a discipline and the growing importance of cinema in popular culture has made it crucial for philosophers to view the film as an art form on par with literature, music, and the visual arts. The overall research study found that there are negative and some positive relations between aesthetic philosophy and practical philosophy in music production. The result found that significant relationship between aesthetic philosophy and practical philosophy in film and television. (shrink)

This volume collects twenty original essays on the philosophy of film. It uniquely brings together scholars working across a range of philosophical traditions and academic disciplines to broaden and advance debates on film and philosophy. The book includes contributions from a number of prominent philosophers of film including Noël Carroll, Chris Falzon, Deborah Knight, Paisley Livingston, Robert Sinnerbrink, Malcolm Turvey, and Thomas Wartenberg. While the topics explored by the contributors are diverse, there are a number (...) of thematic threads that connect them. Overall, the book seeks to bridge analytic and continental approaches to philosophy of film in fruitful ways. Moving to the individual essays, the first two sections offer novel takes on the philosophical value and the nature of film. The next section focuses on the film-as-philosophy debate. Section IV covers cinematic experience, while Section V includes interpretations of individual films that touch on questions of artificial intelligence, race and film, and cinema's biopolitical potential. Finally, the last section proposes new avenues for future research on the moving image beyond film. This book will appeal to a broad range of scholars working in film studies, theory, and philosophy. (shrink)

A classic and fraught question in the philosophy of film is this: when you watch a film, do you experience yourself in the world of the film, observing the scenes? In this paper, we argue that this subject of film experience is sometimes a mere impersonal viewpoint, sometimes a first-personal but unindexed subject, and sometimes a particular, indexed subject such as the viewer herself or a character in the film. We first argue for subject (...) pluralism: there is no single answer to the question of what kind of subjectivity, if any, is mandated across film sequences. Then, we defend unindexed subjectivity: at least sometimes, films mandate an experience that is first-personal but not tied to any particular person, not even to the viewer. Taken together, these two theses allow us to see film experience as more varied than previously appreciated and to bridge in a novel way the cognition of film with the exercise of other imaginative capacities, such as mindreading and episodic recollecting. (shrink)

I argue for a position close to what Paisley Livingston calls the bold thesis of cinema as philosophy. The bold thesis I defend is that films can make innovative, independent philosophical contributions by paradigmatic cinematic means. I clarify the thesis before presenting what Livingston thinks is a fatal problem for any similar position—the problem of paraphrase. As an example in defense of the bold thesis, I offer the "For God and Country" sequence in Sergei Eisenstein’s October (1928). I argue (...) that this scene offers an analogical argument similar in form to what some think Nietzsche presents in the Genealogy of Morality. Moreover, I argue that the argument presented in October is independent, could have been innovative, and is presented via the paradigmatic cinematic means of montage. (shrink)

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

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

What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper (...) question: what is realism, if these are all to count as species of it? In answer, I articulate a sort of picture we have of realism, not just in film but in representations in general. I then ask how far each of the candidate realisms fares, when compared with that image. (shrink)

Philosophy of Film: A Contemporary Introduction (Routledge) provides a critical overview of the literature on eleven different issues in the philosophy of film, from "What is Film?" to "Can Film Do Philosophy?" It aims to provide an objective overview of the principal arguments on each side of the issues. The set of issues includes all of the most important topics as well as some that are less well represented in the discipline, such as (...) whether the power of cinema derives from its similarity to dreams. (shrink)

This volume advances the contemporary debate on five central issues in the philosophy of film. These issues concern the relation between the art and technology of film, the nature of film realism, how narrative fiction films narrate, how we engage emotionally with films, and whether films can philosophize. Two new essays by leading figures in the field present different views on each issue. The paired essays contain significant points of both agreement and disagreement; new theories and (...) frameworks are proposed at the same time as authors review the current state of debate. Given their combination of richness and clarity, the essays in this volume can effectively engage both students, undergraduate or graduate, and academic researchers. (shrink)

Do humans have free Will? What distinguishes morally right from morally wrong action? Does God exist? Does life have meaning? What is the ultimate nature of reality? What are the limits of human knowledge? Philosophy through Film offers a stimulating new way to explore the basic questions of philosophy. Each chapter uses a popular film to examine one such topic- from free will and skepticism to personal identity and artificial intelligence- in an approachable yet philosophically rigorous (...) manner. A wide range of films is employed all of which are readily available through major video rental chains. This unique and engaging introduction provides an exciting new way to learn about philosophy, and connects complicated philosophical questions to the familiar settings of popular culture. (shrink)

As its name implies, Life Above the Clouds: Philosophy in the Films of Terrence Malick gestures to Terrence Malick's ongoing interest in the philosophical quali.

D. N. Rodowick _Reading the Figural, or, Philosophy after the New Media_ Durham: Duke University Press, 2001 ISBN 0-8223-2711-2 276 pp.

Concepts in Film Theory is a continuation of Dudley Andrew's classic, The Major Film Theories. In writing now about contemporary theory, Andrew focuses on the key concepts in film study -- perception, representation, signification, narrative structure, adaptation, evaluation, identification, figuration, and interpretation. Beginning with an introductory chapter on the current state of film theory, Andrew goes on to build an overall view of film, presenting his own ideas on each concept, and giving a sense of (...) the interdependence of these concepts. Andrew provides lucid explanations of theories which involve perceptual psychology and structuralism; semiotics and psychoanalysis; hermeneutics and genre study. His clear approach to these often obscure theories enables students to acquire the background they need to enrich their understanding of film -- and of art. (shrink)

The definitive philosophical exploration of the work of pioneering filmmaker Terrence Malick.

Some of the world’s best-loved films can be used as springboards for examining enduring philosophical questions. Philosophy Through Film provides guidance on how to watch films with an eye for their philosophical content, helping students become familiar with key topics in all of the major areas in Western philosophy, and helping them to master the techniques of philosophical argumentation. -/- The perfect size and scope for a first course in philosophy, Philosophy Through Film assumes (...) no prior knowledge of philosophy. It is an excellent teaching resource and learning tool, introducing students to key topics and figures in philosophy through thematic chapters, each of which is linked to one or more “focus films” that illustrate a philosophical problem or topic. -/- This new edition features a new chapter on the mind-body problem. In addition, one new primary reading and nine new focus films have been added. Films examined in depth include: Arrival The Matrix Inception Memento Moon Live, Die, Repeat: Edge of Tomorrow Her Ex Machina Minority Report Beautiful Boy Crimes and Misdemeanors Gone Baby Gone Equilibrium Divergent A Serious Man Silence Ad Astra . (shrink)

Is philosophy of film without theory an oxymoron or a family of non-, anti-, and a-theoretical approaches with which to engage in film-involving philosophical scholarship and understanding? The goal of this collection is to argue for the latter and to do so by example. By demonstrating a mere handful of the many ways in which philosophy of film without theory might be pursued, in tandem with the insights born of these methods, the volume’s contributors both (...) implicitly and explicitly challenge the academic assumption that engaging philosophically with film must be a theoretical activity. Indeed, they indicate the potential for championing without theory scholarship across the humanities for anyone whose projects and practices seek and celebrate humanistic understanding. -/- Contributors include Lucy Bolton, Carla Carmona, James Conant, Katheryn Doran. Maximilian De Gaynesford, Rob van Gerwen, John Gibson, Eran Guter & Inbal Guter, Colin Heber-Percy, Iris Vidmar Jovanović, Andrew Klevan, David Macarthur, Rupert Read, William Rothman, Constantine Sandis, and Sebastian Sunday. Films and television programmed discussed include Gravity, Le notti di Cabiria, Dunkirk, The Handmaid's Tale, Three Colours: Red and many more. -/- In addition there is an interview with Richard Allen and Malcolm Turvey. (shrink)

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

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

Philosophy through Film This article introduces the main perspectives concerning philosophy through film. Film is understood not so much as an object of philosophical reflection but as a medium for engaging in philosophy. Contributions to the area have flourished since the beginning of the 21st century, along with debates over the extent to which film […].

This chapter is focused on the philosophy of film sound in the analytic tradition and its limitations; drawing from current literature in other fields, it aims to complement some philosophical discussions typically centered on the image with their aural counterparts. Firstly, it provides an overview of early skeptical views on the contribution of sound to the artistic status of films and critically questions the status of sound in contemporary philosophical conceptions of film suggesting a revision that takes (...) seriously the idea of film as an audio-visual medium. Secondly, it discusses a central topic in the philosophy of film, the idea of film realism, showing how the discussion of sound may open new directions along three different dimensions: illusion, likeness, and transparency. (shrink)

In the past two decades, African American filmmakers like Spike Lee have made significant contributions to the dialogue about race in the United States by adapting techniques from classic _film noir _to black American cinema. This book is the first to examine these artistic innovations in detail from a philosophical perspective informed by both cognitive film theory and critical race theory. Dan Flory explores the techniques and themes that are used in black _film noir _to orchestrate the audience’s emotions (...) of sympathy and empathy felt toward morally complex characters whom people might not typically find appealing in real life, such as thugs, drug dealers, or murderers. Using an approach that combines the cognitive insights of theorists like David Bordwell, Noël Carroll, and Murray Smith with the reflective Wittgensteinian methods for considering film employed by Stanley Cavell, Stephen Mulhall, and William Rothman, Flory shows how these films scrutinize the state of race in America, induce their viewers to do so as well, and illuminate the ways in which categories of race have defined and continue to direct much of our vision of the moral self and what counts as appropriate moral sensibility. (shrink)

Philosophy of film without theory is a methodology that aims to motivate and legitimise the current and future development of a range of a-, non-, and anti-theoretical ways of working at the intersection of film and philosophy. We contrast philosophy of film without theory with the main traditions of theoretically orientated philosophy of film, as well as philosophically inflected film Theory and film-philosophy. We also draw attention to the range (...) of philosophical practices and pursuits that distinguish philosophy (in general) without theory and contemporary philosophy (in general) with its near ubiquitous theoretical presumption. The paper finishes with a brief introduction to the various contributions to this Special Issue of Aesthetic Investigations on Philosophy of Film Without Theory. (shrink)

In the past two decades, African American filmmakers like Spike Lee have made significant contributions to the dialogue about race in the United States by adapting techniques from classic _film noir _to black American cinema. This book is the first to examine these artistic innovations in detail from a philosophical perspective informed by both cognitive film theory and critical race theory. Dan Flory explores the techniques and themes that are used in black _film noir _to orchestrate the audience’s emotions (...) of sympathy and empathy felt toward morally complex characters whom people might not typically find appealing in real life, such as thugs, drug dealers, or murderers. Using an approach that combines the cognitive insights of theorists like David Bordwell, Noël Carroll, and Murray Smith with the reflective Wittgensteinian methods for considering film employed by Stanley Cavell, Stephen Mulhall, and William Rothman, Flory shows how these films scrutinize the state of race in America, induce their viewers to do so as well, and illuminate the ways in which categories of race have defined and continue to direct much of our vision of the moral self and what counts as appropriate moral sensibility. (shrink)

This chapter examines race in film through exploring what the author calls “cinema beyond the veil.” This involves addressing several themes. The first is historical—namely, the story of racial portraits in film. The second is hermeneutical—that is, interpreting the portrayal of race in film. The third is philosophical—pertaining particularly to the aesthetic quality of film where race emerges. And the fifth is political—whether race can be in film without subordinating aesthetic aims to political imperatives. Conceptual (...) tools rallied in the service of this analysis include audiovisuality, allegory, monstrosity, political aesthetics, and potentiated double consciousness. (shrink)

Organized around a series of philosophic questions about film,The Philosophy of Film: Introductory Text and Readingsoffers an accessible and engaging overview of the discipline. Provides thorough selection of readings drawn from philosophy,film studies, and film criticism Multiple points of view highlighted in discussion of filmtheory, narration, authorship, film and emotion, and the socialvalues of cinema Presents thought-provoking reading questions as well as clearand helpful introductions for each section More information about this text along (...) with further resourcesare available from the accompanying website at:http://www.mtholyoke.edu/omc/phil-film/index.html. (shrink)

In his recently published book _Reading the Figural, or, Philosophy after the New Media_, D. N. Rodowick introduces the figural into the analysis of film and new media. The book contains revised versions of already published articles written in the 1980s and 1990s, [1] together with new material, and takes us on a journey through film theory and new media technologies to draw out the power of figuration in the coming digital age. Recognizing the 'tectonic shift' (205)currently (...) taking place from an analog to a digital culture, Rodowick convincingly argues that we need a set of new concepts and strategies capable of engaging with new media forms and effects, in order to develop 'creative strategies of resistance' (xvi) as part of a 'critical genealogy that may liberate new concepts for critiquing the permeation of capital into all areas of cultural experience'. (shrink)

Understanding how meaning mechanisms are unleashed in film has been at the center of numerous theoretical surveys of the last few years. Emphasis has especially fallen on seeing as a constructive, meaningful activity and on the diegetic implications of vision. This book is an attempt to extend film theorizing into a new realm, where hearing proves as important as seeing and where the relevance of filmic narrative is differently explored. New paths for future research are suggested by means (...) of associations with the works of linguists or philosophers who have never addressed film theory directly in their writings. Nonetheless, several concepts posited by them (relevance, natural versus non-natural meaning or the notion of Mental spaces) find their application in the present survey. A wide range of examples starting with point-of-view and editing occurrences, passing through the use of music and sound and culminating with the study of whole filmic ensembles, enables the reader to re-examine code-bound or, on the contrary, deviational structures. These are often drawn from familiar sources, proving that not only art films of the Eisenstein or Godard type enhance innovative meaning spaces. Finally, the viewer is seen as a «silly little kitty», an active not passive receiver of textual structures who relies on patterns of known visual or aural backgrounds open to an unlimited field of perspectives. (shrink)

Introduction -- The application of functional linguistics to film -- Cohesion in film -- Analysing action patterns in film -- Conclusion.

A review of David Huckvale's (2020) book "Terrors of the Flesh: The Philosophy of Body Horror in Film".

In this article I explore a tantalising definition of cinematic belief as a belief without belief by briefly considering the way in which film theory and film-philosophy have engaged with the question of belief in cinema. I also take into account Simon Critchley’s discussion of religious belief in The Faith of the Faithless (2012) within the context of anthropological studies of religion such as that by Émile Durkheim. In addition, I discuss Sigmund Freud’s 1927 reflection on religion (...) in “The Future of an Illusion”. I then show that this line of thought can be linked to the philosophical discussion around the so-called paradox of fiction and introduce the idea that belief can be understood itself as an emotion or mood. I argue in favour of the solution to the paradox that claims that emotions experienced in response to fictional entities are quasi-emotions but radicalise this claim by showing that this must imply that all emotions are in fact structured like quasi-emotions and that we do not require an essentialist understanding of emotion in the first place. Throughout I use the example of the various cinematic representations of the life of St Francis to flesh out the argument, including Roberto Rossellini’s Francesco, giullare di Dio / Francesco, God’s Jester / The Flowers of St Francis (1950) but particularly Franco Zeffirelli’s much maligned Brother Sun, Sister Moon (1972). (shrink)

This chapter contrasts the broadly empirical, pluralist, and construction device–oriented approaches to film study of analytic philosophy of film with the broadly socially hermeneutic, artistically and politically avant-gardist stances of Continental film theory. Analytic philosophy of film has tended to focus on classic Hollywood films and continuity editing, in order to explore the achievements of these films as art, while Continental film theory frequently finds such films to be regressive and technically uninteresting. I (...) explore in detail the work of such analytically oriented film scholars as Cavell, Danto, Walton, Carroll, Wilson, Bordwell, Plantinga, and Wartenberg, among others, against the background of this broad divergence in styles of work. I conclude by suggesting possibilities of rapprochement between these two styles, possibilities that embrace both the insights of analytic philosophers concerning specific devices and effects of film construction and the insights of Continental theorists concerning human subject formation and human social, political, and artistic interests. (shrink)

The horror and psychological denial of our mortality, along with the corruptibility of our flesh, are persistent themes in drama. Body horror films have intensified these themes in increasingly graphic terms. The aesthetic of body horror has its origins in the ideas of the Marquis de Sade and the existential philosophies of Arthur Schopenhauer and Friedrich Nietzsche, all of whom demonstrated that we have just cause to be anxious about our physical reality and its existence in the world. This book (...) examines the relationship between these writers and the various manifestations of body horror in film. The most characteristic examples of this genre are those directed by David Cronenberg, but body horror as a whole includes many variations on the theme by other figures, whose work is charted here through seven categories: copulation, generation, digestion, mutilation, infection, mutation, disintegration and extinction. (shrink)

A Review of a collected volume of papers at the intersection of film and philosophy.

Rudolf Harms entwickelt seine reich differenzierte Ästhetik des Films in Anlehnung an die Ästhetik seines Lehrers Johannes Volkelt und sucht deren auf Kant zurückgehende Polarität des Schönen und Erhabenen für das Verständnis des neuen Mediums fruchtbar zu machen. Doch sein systematisches Interesse richtet sich auf die Suggestionskraft, durch die sich der Film vor den traditionellen Künsten auszeichnet. Für Harms, der den Film mit Blick auf die photographische Wiedergabe als realistische Kunst einschätzt, ist der Film das Reich des (...) Sichtbaren. Es gibt für ihn keine Kunst, die so berufen wäre, das 'Gesicht der Dinge' darzustellen, wie der Film. Da dieser zu allererst eine Handlung in Bildern gibt, ist er zugleich das Märchenbuch des modernen Erwachsenen. Obwohl noch ausschließlich auf den Schwarzweißfilm und den Stummfilm beschränkt, bietet das Buch in seiner Konzentration auf die wahrnehmungsästhetische und die narrative Dimension des Mediums - auf die Wirkung von Handlung als Bewegung in sinnlicher Anschauung - Einsichten in seine konstitutiven Möglichkeiten, die sich bis heute als Anschlussfähig erweisen. (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)

Giuliana Bruno _Atlas of Emotion: Journeys in Art, Architecture, and Film_ London: Verso, 2002 ISBN 1859848028 484 pp.

Although Gregory Currie is often presented as a strong defender of empathic simulation as part of spectator engagement, this paper questions the importance of empathy in Currie's philosophy of film. Currie's account of the imagination is too propositional, and his account of a more sensuous and experiential kind of imagining is found wanting. While giving a convincing account of impersonal imagining in relation to fiction film, Currie does not sufficiently explain what empathy is, and what relation it (...) has to other forms of imagining. Simulation is primarily defined as impersonal, and perhaps more importantly, as conceptual and propositional in Currie's writings. This is perhaps most evident in his critique of personal imagining, where imagining seeing or imagining being becomes a self-reflexive form of imagining where the spectator also conceptualizes ‘I’ and ‘see’. This paper discusses the relation between personal imagining and empathy in Currie's account, and argues that he fails to show how empathy is of secondary importance for engagement in fiction film. (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)

In works of literary fiction, it is a part of the fiction that the words of the text are being recounted by some work-internal 'voice': the literary narrator. One can ask similarly whether the story in movies is told in sights and sounds by a work-internal subjectivity that orchestrates them: a cinematic narrator. George M. Wilson argues that movies do involve a fictional recounting (an audio-visual narration ) in terms of the movie's sound and image track. Viewers are usually prompted (...) to imagine seeing the items and events in the movie's fictional world and to imagine hearing the associated fictional sounds. However, it is much less clear that the cinematic narration must be imagined as the product of some kind of 'narrator' - of a work-internal agent of the narration. Wilson goes on to examine the further question whether viewers imagine seeing the fictional world face-to-face or whether they imagine seeing it through some kind of work-internal mediation . It is a key contention of this book that only the second of these alternatives allows one to give a coherent account of what we do and do not imagine about what we are seeing on the screen. Having provided a partial account of the foundations of film narration, the final chapters explore the ways in which certain complex strategies of cinematic narration are executed in three exemplary films: David Fincher's Fight Club , von Sternberg's The Scarlet Empress , and the Coen brothers' The Man Who Wasn't There. (shrink)