This article explores how post-war documentary film-makers negotiated complex social, formal, and autobiographical issues associated with representing mental illness and its treatments, and the extent to which their respective approaches helped to challenge conventional attitudes to alternative psychotherapies – especially within the context of advances in new documentary film-making technologies, alongside a wider culture of social activism. Focussing on A Look at Madness ( Regard sur la folie; Mario Ruspoli, 1962, France) and Now Do You Get It (...) Why I Am Crying? ( Begrijpt u nu waarom ik huil?; Louis van Gasteren, 1969, Netherlands), the article discusses how the collaborative, democratic aims of cinéma direct coincided with the ethos of institutional psychotherapy, and compares this with the relations between the documentary form and the subject of LSD-assisted psychotherapeutic techniques in Van Gasteren's film. (shrink)

In our everyday lives, we often have to blend our different roles and various selves. Sometimes, they coexist in harmony. But there are times when they come into conflict, and we have to make a significant effort to get them back in balance. This paper focuses on my scientific/artistic practice in anthropological documentary film-making. Drawing on two films I have directed, I reflect on situations where I needed to compromise my different roles and perspectives on the film (...) set and beyond. My actions and decisions have drawn on anthropological principles in documentary film-making. Through my autoethnographic reflection, I have come to the inevitable conclusion that in anthropological film-making, anthropology cannot be dominant nor submissive to storytelling. It should be the principle that guides the author (director) in achieving their focus and in creating the meaning of the story. (shrink)

A number of recently-offered examples demonstrate that it is possible for films to be works of philosophy, but do not speak to just how many films are. Here I suggest one way in which a great number of films could be reasonably interpreted this way. My focus is on what I take to be our most crucial criterion for a film’s being philosophy: that it must present a philosophical argument. I present here a form that is plausibly shared by (...) a good number of arguments made by films, and provide a number of examples of films that present arguments of this form in favor of philosophical conclusions. (shrink)

Filmmaking is one of the most complexly layered forms of artistic production. It is a deeply interactive process, socially, culturally, and technologically. Yet the bulk of popular and academic discussion of filmmaking continues to attribute creative authorship of films to directors. Texts refer to “a Scorsese film,” not a film by “Scorsese et al.” We argue that this kind of attribution of sole creative responsibility to film directors is a misapprehension of filmmaking processes, based in part on (...) dubious individualist assumptions about creative minds. Such a misapprehension is effacing the public value that a more inclusive and accurate understanding of filmmaking offers. By “public value” we mean the potential to enhance social and cultural well-being, particularly in working lives and collaborative undertakings in the screen industries. Better understanding of the systemic and social nature of creativity in filmmaking can potentially help in democratising aesthetics, which we consider a clear public good. (shrink)

This chapter contains sections titled: Notes References.

Scott MacDonald _Avant-Garde Film_ Cambridge: Cambridge University Press, 1993 ISBN 0-521-38821-X 199 pp.

This paper proceeds from the premise that film can be educational in a broader sense than its current use in classrooms for illustrative purposes, and explores the idea that film might function as a form of education in itself. To investigate the phenomenon of film as education, it is necessary to first address a number of assumptions about film, the most important of which is its objective character under study. The objective study of film holds (...) that the meaning of film awaits its correct interpretation according to an informed viewer. I suggest that theoretical modes of interpretation in this vein really amount to attempts to control meaning via a particular lens, rather than allowing films to present meaning in necessarily ambiguous, and thus sometimes unsettling, ways. Situating film as the object of study in this way continues a tradition of empiricism or naturalism in thought that both Maurice Merleau-Ponty and Ludwig Wittgenstein sought to critique as psychologism. Whilst no claim is made for reconceiving of Wittgenstein as phenomenologist, a dialogue between the Remarks on the Philosophy of Psychology and the Phenomenology of Perception reveals sympathies in attempts made by both to overcome a metaphysics of the perceived or experienced object, thereby broadening the educational reach of film. (shrink)

_The Cinema of Terrence Malick: Poetic Visions of America_ Edited by Hannah Patterson London: Wallflower Press, 2003 ISBN 1-903364-75-2 195 pp.

This special issue considers the significance of film to the establishment and development of scientific approaches to the mind. Bonnie Evans explores how the origins of film technologies in 1895 in France encouraged a series of innovative collaborations, influencing both psychological theorisation, and new filming techniques. Jeremy Blatter explains how Harvard psychologist Hugo Münsterberg created early films specifically designed to engage audiences using psychological tactics. Scott Curtis’ article examines how Yale psychologist Arnold Gesell was able to extract scientific (...) data from a film. Felix Rietmann’s article explores a collection of infant observation films from the 1930s and 1960s and how they developed unique narratives of mothers’ engagement with their children that did not necessarily match up with dominant scientific theories. Janet Harbord's article considers how a trilogy of films made at the Maudsley Hospital in the 1950s engaged with innovative film-making techniques that captured behaviour as discrete units. Seth Watter further examines how William S. Condon's use of the unique technology of the Bell and Howell 173BD projector in the 1960s created new understandings of human behaviour that could not have been predicted in advance, and which were highly influenced by the technology itself. Finally, Des O’Rawe explores how radical approaches in both anti-psychiatry, and documentary film-making in the 1960s created new opportunities for audiences to engage with different psychological states. All of these developments in film and psychology continue to influence understandings in both these fields to the present day. (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)

When is it ethically justifiable to mislead participants about the nature of a film or television program? Producers of the 2006 film Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan used brilliantly crafted releases to undermine potential fraud claims from participants misled about the comedy. This article argues that if portraying participants can result in foreseeable, substantial negative consequences for them, the portrayal must serve an overriding public interest. The test is applied to scenes (...) in Borat. (shrink)

Film viewers make sense of films first of all at a precognitive level, triggered by their bodi­ly responses. The key notion here is movement: the movements of screen characters, the movements simulated by the viewers who perceive these characters, and the camera move­ments that mediate between the two. This review essay evaluates two monographs: Maarten Coëgnarts’ Embodied Cinema, which expands conceptual metaphor theo­ry to account for film’s unique affordances to communicate embodied meaning; and Vit­torio Gallese's and Michele Guerra’s (...) The Empathic Screen, which buttresses embod­ied simulation by film viewers experimentally by demonstrating the workings of “mirror neurons.” The review ends by discussing how these two books tie in with other develop­ments in the study of gene-culture coevolution. (shrink)

Looks at the varied manifestations of postmodernism in an array of popular American films from the 1950s forward.

Images, whether filmic or not, cannot be replaced by words. Yet words can make images. This is the thesis underlying So What, a collection of essays on filmmakers and artists, including Luchino Visconti, Orson Welles, Marguerite Duras, Hollis Frampton, and Agnes Martin.

Gravestones and inscription stones, which are among the oldest indicators of the phenomenon of death engraved in the public memory with images and rituals, are the ancient interpreters of the consciousness of death, which is the redemption of human beings as conscious beings. The phenomenon of death or dying, which was domesticated through a natural spirituality in antiquity, and a monotheistic religiosity in the Middle Ages, loses its spirituality by becoming profaned in the hands of consumer culture and is brutalized (...) today in terms of lifestyle by being cut off from existence in positivist paradigm in epistemological terms. The study deals with the secular perception of death and the individual and social crises caused by this perception in the context of tradition and modernity. The purpose of the study is to draw attention to the spread of natural and materialist assumptions in the perception of death and the strengthening of the profane elements in mourning ceremonies and to make sense of the traces left by this process in the individual and society. It is seen in the study that the efforts to cover up and intimidate the deceased and the subject of loss bring existential crises, alienation, and violence against oneself or others. On the other hand, it is also understood that it is not a coincidence that the traces of the culture of reconciliation built between death and life by the traditional perception of death in the countryside as an alternative perception faced. The study has been conducted with the document analysis design method, which is a qualitative research type. The approaches to the phenomenon of death have been subjected to a chronological literature reading in the study, and the diagnoses of the 21st century attitudes of the death perception, which were reached by going back to early days, were tested in historical and semiotics terms with the films Making Ships from Watermelon Shell (2004) and Shattered (2021), which were chosen to represent two different paradigms as documentary data. The study is important in that it examined the changing perception of death and the culture of mourning in detail and created a current topography and contributes to the studies of the sociology of death, which is still a fresh field. (shrink)

How do issues of form and content shape the documentary film? What role does visual evidence play in relation to a documentary’s arguments about the world we live in? In what ways do documentaries abide by or subvert ethical expectations? Are mockumentaries a form of subversion? Can the documentary be an aesthetic experience and at the same time have political or social impact? And how can such impacts be empirically measured? Pioneering film scholar Bill Nichols investigates the ways (...) documentaries strive for accuracy and truthfulness and simultaneously fabricate a form that shapes reality. Such films may rely on reenactment to re-create the past, storytelling to provide satisfying narratives, and rhetorical figures such as metaphor or devices such as irony to make a point. Documentaries are truly a fiction unlike any other. With clarity and passion, Nichols offers incisive commentaries on the basic questions of documentary’s distinct relationship to the reality it represents, as well as close readings of provocative documentaries from this form's earliest days to its most recent incarnations. These essays offer a definitive account of what makes documentary film such a vital part of our cultural landscape. (shrink)

"Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race. Reorganized into eight sections - each comprising the major fields of critical controversy and analysis - this new edition features reformulated introductions and biographical headnotes that contextualize the (...) readings, making the text more accessible than ever to students, film enthusiasts, and general readers alike. The seventh edition also integrates exciting new material on feminist theory, queer cinema, and global cinema, as well as a new section, "Digitization and Globalization," which engages important recent developments in technology and world cinema.". (shrink)

The invention of film technologies in France at the end of the 19th century inspired neurologists and associated professionals to engage with this new medium to demonstrate their theories of the brain, the nervous system, and the mind. Beginning with the origins of cinema in Paris, this article explores how film technologies were used at La Salpêtrière, and beyond, to visualise internal mental processes, and to support the burgeoning sciences of the mind. This film-making became increasingly (...) sophisticated by the late 1910s and early 1920s, creating innovative ways to present psychological experiences on film. This article focuses on films produced by Albert Londe, Vincenzo Neri, Gheorghe Marinescu, and Jean Comandon. It argues that these polymaths created new filming techniques that built complexity into the visual articulation of psychological concepts. Their films were essential to shaping early debates in neurology, psychology, and the observational sciences during this critical period in the establishment of the modern sciences of the self. (shrink)

Why do we watch and like horror films? Despite a century of horror film-making and en-tertainment, little research has examined the human motivation to watch fictional horror and how horror film influences individuals’ behavioural, cognitive and emotional re-sponses. This review provides the first synthesis of the empirical literature on the psy-chology of horror film using multi-disciplinary research from psychology, psychotherapy, communication studies, development studies, clinical psychology, and media studies. The paper considers the motivations for people’s decision (...) to watch horror, why people enjoy horror, how individual differences influence responses to, and preference for, hor-ror film, how exposure to horror film changes behaviour, how horror film is designed to achieve its effects, why we fear and why we fear specific classes of stimuli, and how lik-ing for horror develops during childhood and adolescence. The literature suggests that (1) low empathy and fearfulness are associated with more enjoyment and desire to watch horror film but that specific dimensions of empathy are better predictors of people’s re-sponses than are others; (2) there is a positive relationship between sensation-seeking and horror enjoyment/preference but this relationship is not consistent; (3) men and boys prefer to watch, enjoy and seek our horror more than do women and girls; (4) women are more prone to disgust sensitivity or anxiety than are men and this may mediate the sex difference in the enjoyment of horror; (5) younger children are afraid of symbolic stimuli whereas older children become afraid of concrete or realistic stimuli; (6) in terms of coping with horror, physical coping strategies are more successful in younger children; priming with information about the feared object reduces fear and increases children’s enjoyment of frightening television and film. A number of limitations in the literature are identified, including the multifarious range of horror stimuli used in studies, disparities in methods, small sample sizes, and a lack of research on cross-cultural differences and similarities. Ideas for future research are explored. (shrink)

With the rise of review sites and social media, films today, as soon as they are shown, immediately become the topic of debates on their merits not only as entertainment, but also as serious forms of artistic expression. Philosopher Robert B. Pippin, however, wants us to consider a more radical proposition: film as thought, as a reflective form. Pippin explores this idea through a series of perceptive analyses of cinematic masterpieces, revealing how films can illuminate, in a concrete manner, (...) core features and problems of shared human life. Filmed Thought examines questions of morality in Almodóvar’s Talk to Her, goodness and naïveté in Hitchcock’s Shadow of a Doubt, love and fantasy in Sirk’s All That Heaven Allows, politics and society in Polanski’s Chinatown and Malick’s The Thin Red Line, and self-understanding and understanding others in Nicholas Ray’s In a Lonely Place and in the Dardennes brothers' oeuvre. In each reading, Pippin pays close attention to what makes these films exceptional as technical works of art and as intellectual and philosophical achievements. Throughout, he shows how films offer a view of basic problems of human agency from the inside and allow viewers to think with and through them. Captivating and insightful, Filmed Thought shows us what it means to take cinema seriously not just as art, but as thought, and how this medium provides a singular form of reflection on what it is to be human. (shrink)

This essay investigates time-lapse cinematography as a hybrid, intermedial practice. To interrogate practices of authorship, publication, copying, storage, and especially distribution, it recovers the history of The Embryonic Development of Drosophila melanogaster, a film made by Eric Lucey at the University of Edinburgh in 1956. An unusually rich archive makes it possible to recover uses and reuses of time-lapse footage in research, teaching, and other forms of communication.

This book forms part of the multi-disciplinary Studies in Ethics Series from Liverpool Hope University. It explores the slipperiness of ethics as a concept and demonstrates the multiplicity of intellectual inquiry within contemporary Film Studies. At first glance, â ~ethicsâ (TM) is not necessarily a subject conventionally associated with film. Film is often regarded as a form of â ~lowbrowâ (TM) popular culture, either offering bland entertainment or deliberately setting out to shock â " or, more cynically, (...) generate box office revenue â " through gratuitous inclusion of sex and violence. Certainly, there have always been a minority of films based on the stereotypically â ~ethicalâ (TM) subject of religion, but these have often generated the most controversy, from the studio system decree that it was blasphemous to represent the corporeal body of Christ to the furore surrounding Martin Scorseseâ (TM)s The Last Temptation of Christ (1988). This book shows that from the silent era to the present day, film has been inherently concerned with ethical issues. In this light, the definition of ethics that informs the volume and is taken as the starting point of each of the chapters is the notion of personal or institutional motivation; most usually because a character or industry figure makes a decision or choice based on their own moral â " or ethical â " code. Once this is defined, the ethical dimension to films is immediately evident. This book takes as its central theme the difficulty of decisions refracted through personal ethical codes, and thus recognises that what counts as ethics, or morality, is always subjective. Some of the chapters explore films which take conventionally â ~goodâ (TM) ethical standpoints, others investigate why â ~badâ (TM) decisions were made; at least one explores the celebration of practices invoking popular disgust, but all the contributions study ethical decisions within film that represent the strongly felt convictions of those involved and, moreover, address aspects of filmmaking which force the spectator to be an active and reciprocal participant in the creation of meaning, thus implicitly acknowledging that ethics are subjective and in perpetual flux rather than fixed, objective truths. (shrink)

Ordinarily, what we experience does not jump from one place or time to another—we have to pass through all the intermediate times and places. But in films, what we experience can jump in both dimensions, both separately and together. This phenomenon has been memorably described in film criticism by Rudolph Arnheim and it has been deployed philosophically by Suzanne Langer and Colin McGinn. But discussion of space-time discontinuity remains hampered by the lack of attunement between film critical and (...) philosophical investigations. Without philosophy, the valuable insights of film criticism lack rigour and have been blunted by conceptual imprecision and confusion; without film criticism, the provocative claims of philosophy lack support, floating free of the evidence that a suitably sharp awareness of the details of particular films alone provides. This paper brings philosophy and film criticism to bear on each other so that we stand to make headway on the issue of film and space-time discontinuity. (shrink)

Popular film has become a significant venue for meaning‐making in modern society. Like religion, film provides models for understanding and behaving within the social world. Like religion, film reinforces this content through emotional resonance. Myths slip under a viewer's intellectual defenses in the non‐threatening guise of entertainment. In a mainstream culture skeptical of religion, film presents an alternative mechanism for the transmission and processing of “religious” ideas and ideals.

Employing a thematic approach and drawing on disciplines ranging from neurobiology to philosophy, Film and Morality examines how morality is presented in films and how films serve as a source of moral values. While the role of censorship in upholding moral standards has been considered comprehensively, the presence of moral dilemmas in films has not attracted the same level of interest. Film-makers may address moral concerns explicitly, but moral dilemmas can serve as plot devices, creating dramatic tension by (...) providing pivotal moments when characters are called upon to make life-changing decisions. Drawing on a range of well-known and neglected films mainly from Britain and America, this book provides numerous examples of how film-makers make use of morality and how audiences are invited to explore moral issues by following characters who live with the consequences of their choices. Film and Morality introduces philosophical debates on such topics as free will, conscience and the place of moral codes in everyday life, showing the relevance of film to these issues. The book presents a distinct approach to how films might be analysed. (shrink)

The auteur theory of film-making (usually attributed in film to the French director Francais Truffaut) is explored with specific reference to the films of Alfred Hitchcock. It is argued that Hitchcocks’s films, in particular his later films, present a common theme which is in fact quite consistent with the outlook of Phenomenological Existentialism, especially as it was espoused by the philosophers Jean-Paul Sartre and Martin Heidegger.To support this position, textual analyses of various films directed and produced by (...) Hitchcock are presented, including Rear Window, The Trouble with Harry, The Wrong Man, and Vertigo. The effects of this approach and its philosophical implications far the film-going audience are also examined. (shrink)

This book contributes to the analysis of film from a multimodal and textual perspective by extending formal semantics into the realm of multimodal discourse analysis. It accounts for both the inferential as well as intersemiotic meaning making processes in filmic discourse and therefore addresses one of the main questions that have been asked within film theory and multimodal analysis: How do we understand film and multimodal texts? The book offers an analytical answer to this question by (...) providing a systematic tool for the description of this comprehension process. It aims to advance knowledge of the various resources in filmic texts, the ways the resources work together in constructing meaning and the ways people understand this meaning construction. This new approach to film interpretation is thus able to remodel and improve the classical paradigm of film text analysis. (shrink)

This study investigates affective meanings expressed in facial expressions and bodily gestures from a semiotic perspective. Particularly, the study focuses on disentangling relations of affective meanings and exploring the meaning potential of facial expressions and bodily gestures. Based on the analysis of over three hundred screenshots from two films (one animation and one live-action film), this study proposes a system of visual affect, as well as a system of visual resources involved in the expression of visual affect. The system (...) of visual affect makes a further step in the investigation of affective meanings afforded by facial expressions and bodily gestures, and can provide methodological insights into the examination of affective meanings expressed visually. The system of visual resources provides a more meaning-motivated framework for systematic tracking of the visual resources, which may be applied to the analysis of other visual media apart from films. (shrink)

Despite much excellent work over the years, the vast history of scientific filmmaking is still largely unknown. Historians of science have long been concerned with visual culture, communication and the public sphere on the one hand, and with expertise, knowledge production and experimental practice on the other. Scientists, we know, drew pictures, took photographs and made three-dimensional models. Rather like models, films could not be printed in journals until the digital era, and this limited their usefulness as evidence. But that (...) did not stop researchers from making movies for projection at conferences as well as in lecture halls, museums and other public venues, not to mention for breaking down into individual frames for analysis. Historians of science are more likely to be found in the library, archive or museum than the darkened screening room, and much work is still needed to demonstrate the major effects of cinema on scientific knowledge. Film may have taken as long to change science as other areas of social life, but one can begin to glimpse important ways in which ‘image machines’ were beginning to mediate between backstage experimental work and more public demonstration even around 1900. (shrink)

This paper explores the mystical structure of education as Bildung in medieval theologian and Dominican friar Meister Eckhart’s work and the 2010 French film Of Gods and Men (Des Hommes et Des Dieux). I start this paper with a short introductory sketch of the Bildung tradition, in order to situate my discussion of Eckhart within the more well-known humanist tradition. Here, I claim that Bildung (as we understand it today through the classic Bildung philosophers) points back to its theological (...) heritage and horizon of meaning, when it is claimed as the general tekhnê (art, craft) of making oneself at home in the world with and through others. In my first step, I then explore the intellectual heritage of this mystical structure of Bildung. Drawing on a range of Meister Eckhart’s writings (esp. his German sermons), I elaborate three features pivotal to his concept of Bildung (as image-ing) of the imago Dei (image of God) in the human soul/action: (1) divine grace, (2) human cultivation and (3) the harmonisation of both in (what I shall call) ‘careful gestures'. In my concluding second step, I illustrate this mystical structure of Eckhartian Bildung—with a particular focus on the emergence of careful gestures—through the motion picture Des Hommes et Des Dieux. (shrink)

An introduction to philosophy through film, _Thinking Through Film: Doing Philosophy, Watching Movies_ combines the exploration of fundamental philosophical issues with the experience of viewing films, and provides an engaging reading experience for undergraduate students, philosophy enthusiasts and film buffs alike. An in-depth yet accessible introduction to the philosophical issues raised by films, film spectatorship and film-making Provides 12 self-contained, close discussions of individual films from across genres Films discussed include Total Recall, Minority Report, (...) La Promesse, Funny Games, Ikuru, The Dark Knight, Memento, AI and more Explores concepts that span epistemology, metaphysics, fate, choice, robot love, time travel, personal identity, spectacle, ethics, luck, regret, consequentialism, deontology and the philosophy of film itself A uniquely flexible resource for courses in philosophy and film that encourages student reflection, as well as being an engaging read for the film enthusiast. (shrink)

Many philosophers maintain that works of art, in particular films and novels, cannot function as thought experiments. Most who claim this make their case by setting the bar for what can count as a philosophical thought experiment very high. It is argued here not that these positions are necessarily mistaken, but that there is a large gray area that is seldom acknowledged between what counts as a philosophical thought experiment narrowly defined and what counts as “being used to illustrate a (...) philosophical point,” where the fiction is imported into an already complete external argument. I contend that these are not the only alternatives available, that intuition pumps and variant case arguments provide better grounds for comparison than has been acknowledged, and that there are uses to which filmic illustrations in particular may be put that make distinctive and cognitive contributions of their own. In the course of making this case, it is stressed both that emotional response has clearly cognitive aspects and that many thought experiments with lower stakes rely on eliciting emotional response. (shrink)

The first collection of its kind, The Continental Philosophy of Film Reader is the essential anthology of writings by continental philosophers on cinema, representing the last century of film-making and thinking about film, as well as all of the major schools of Continental thought: phenomenology and existentialism, Marxism and critical theory, semiotics and hermeneutics, psychoanalysis, and postmodernism. Included here are not only the classic texts in continental philosophy of film, from Benjamin's “The Work of Art (...) in the Age of Mechanical Reproduction” to extracts of Deleuze's Cinema and Barthes's Mythologies, but also the earliest works of Continental philosophy of film, from thinkers such as Georg Lukács, and little-read gems by philosophical giants such as Sartre and Beauvoir. The book demonstrates both the philosophical significance of these thinkers' ideas about film, as well their influence on filmmakers in Europe and across the globe. In addition, however, this wide-ranging collection also teaches us how important film is to the last century of European philosophical thought. Almost every major continental European thinker of the twentieth and twenty-first centuries has had something to say-sometimes, quite a lot to say-about cinema: as an art form, as a social or political phenomenon, as a linguistic device and conveyor of information, as a projection of our fears and desires, as a site for oppression and resistance, or as a model on the basis of which some of us, at least, learn how to live. Purpose built for classroom use, with pedagogical features introducing and contextualizing the extracts, this reader is an indispensable tool for students and researchers in philosophy of film, film studies and the history of cinema. (shrink)

Feminist philosophy of film is a young field that is rapidly growing but that has as yet no distinct disciplinary presence within philosophy. Articles by feminist philosophers on film began appearing in aesthetics journals and anthologies in English only in the late 1980s and 1990s. In film studies, as in aesthetics more generally, disciplinary boundaries are fluid. Writers from many fields – literature, art, communications, cultural studies – make critical contributions on film, addressing philosophical issues and (...) drawing upon philosophical theories. Many questions discussed in the general field of film theory are philosophical ones, and among these are topics important for feminist philosophy and aesthetics: Is film an art, and if so why? What is the essence of film? How does film depict subjectivity? What is the nature of our emotional reactions to and interest in film? How is the photographic nature of film used in constructing realistic or other forms of representations of the world? How is ideology at work in the Hollywood production system and in the circulation of filmic images in the popular culture industry? It would be not only difficult, but arbitrary and misleading, to restrict the label or practice of “feminist philosophy of film” to professional philosophers. It is best to approach this subject, then, by situating it in relation to other fields, including feminist film theory, film theory in general, philosophical work on film, and feminist aesthetics. Feminist philosophy of film is rapidly expanding as philosophers with diverse interests turn their attention to film. The inclusion of feminist essays by philosophers in two anthologies on film in the mid‐1990s, together with the appearance of the first issue of the journal Film and Philosophy, suggest that this field is on the brink of a period of rapid growth and change. I will discuss possible new directions of growth, and connections with feminist philosophy broadly considered in the conclusion. (shrink)

This essay presents a commentary on and rational reconstruction of Stephen Heath's influential and groundbreaking essay from 1976: “On screen, in frame: Film and ideology.” As a commentary, it attempts to make explicit the implicit assumptions behind Heath's dense and challenging essay; rewrite and clarify his inexact formulations; and develop a microanalysis of the essay's language. As a rational reconstruction, this essay follows Rudolf Botha's philosophical study into the conduct of inquiry to analyze Heath's formulation of conceptual and empirical (...) problems and the strategies he uses to deproblematize them. This rational reconstruction rearranges the parts of Heath's essay according to the four central activities Botha identifies in the formulation of theoretical problems: 1) identifying the problematic state of affairs; 2) describing the problematic state of affairs; 3) constructing problems; and 4) evaluating problems according to well-formedness and significance. The result is a close reading of Heath's essay that reveals in minute detail his reasoning strategies, and highlights how he revolutionized film theory by attempting to integrate Lacanian psychoanalysis and Althusserian Marxism into continental semiotics, under the influence of Kristeva's theories of the signifying practice and the subject-in-process. (shrink)

Indian Philosophy has reached across the globe. It is popular for its practical way towards life. Study of Indian philosophy should be part of all streams of education. Film is effective tool of communication. It attracts all generations and makes strong impression in the mind. Film is always considered as an effective tool in Pedagogy. Philosophy deals with abstract concepts, their correlation and logical reasoning. It deals with the complex problem of reality. People have notion that philosophy is (...) a dry and theoretical subject. Students can understand complex philosophical ideas if they are demonstrated through films. There are films based on biographies of philosophers, life picture of great people, incidences in life of philosophers. But it can attract only limited number of audience. Some popular Hollywood films have amalgamation of science fiction, super natural elements, fantastic story guided by some philosophical principles. Such films attract audience from different strata. Viewer is totally captivated by extra ordinary super natural and fictional elements in the film. As a result, certain philosophical principles are taught to audience without their conscious effort. (Kantāsammita upadeśa) Teaching philosophy with the means of such films can be definitely effective tool in Pedagogy. Such practise will not only create liking for Indian Philosophy but will result in effective understanding of complex ideas. It can create awareness that Indian Philosophy is embraced across the globe, there are no boundaries for philosophical deliberations and there are certain common threads in different philosophical schools. Paper will take example of popular movie ‘Matrix’ to explain the principles of Advaita Vedānta. The Matrix is a 1999 science fiction film written and directed by The Wachowskis, starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, and Joe Pantoliano. It states the journey of hero of the film ‘Neo’ who is aspiring for reality. He is struggling between illusory world and the real world which is presented through the means of science fiction. This paper will analyse Matrix from the perspective of Advaita Vedānta. Māyā projects the illusory world (vikṣepa) in place of Brahman (āvaraṇa). Film portrays digital world as illusory world. One sees this world as real due to limitations of body, mind and intellect. Neo goes to the real world and realises his true nature. True reality is beyond senses and sense objects (atindrīya). Concepts of Advaita Vedānta can be explained with this film. Such movies can be shown to students along with Vedanta discourses. Paper will explore ‘Film and Philosophy’ as an effective pedagogical model. (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.

In this article, I claim that film matters to political theory not because of the stories films recount, but because the medium of film offers political theorists an image of political thinking that emphasizes the stochastic serialization of actions. I thus argue that the stochastic serialization of moving images that films project makes available for democratic theory an experience of resistance and change as a felt discontinuity of succession, rather than as an inversion of hierarchical power. In my (...) treatment of these issues, I rely on Hume's ontology of ‘broken appearances’ and ‘interrupted perceptions’, as well as Stanley Cavell's ontology of film as treated in The World Viewed. I elaborate the following four aspects of the relation between film and political theory: the action-image; discontinuity and the fact of series; actors, artificial persons and human somethings; and political resistance and an aesthetics of politics. The manner in which I proceed is to show the aspectual overlay between film and political thinking. Such a method of exposition suggests a further, methodological site where film matters to political theory: the stochastic serialization of moving images in film provides political theory with a genre for elaborating ideas that is not reducible to the analytics of causal argument. (shrink)

In this significantly expanded new edition of his acclaimed exploration of the four Alien movies, Stephen Mulhall adds several new chapters on Steven Spielberg’s Mission: Impossible trilogy and Minority Report . The first part of the book discusses the four Alien movies. Mulhall argues that the sexual significance of the aliens themselves, and of Ripley’s resistance to them, takes us deep into the question of what it is to be human. At the heart of the book is a highly original (...) and controversial argument that films themselves can philosophize. Mulhall then applies his interpretative model to another sequence of contemporary Hollywood movies: the Mission: Impossible series. A brand new chapter is devoted to each of the three films in the series, and to other films by the relevant directors that cast light on their individual contribution to it. In this discussion, the nature of television becomes as central a concern as the nature of cinema; and the shift in generic focus from science fiction to thriller also makes room for a detailed reading of Spielberg’s Minority Report . On Film, Second Edition is essential reading for anyone interested in philosophy, film theory and cultural studies, and in the way philosophy can enrich our understanding of cinema. (shrink)

The book is an interdisciplinary work shaped around films made by different workshop participants using film to access personal interpretations of space and place. It is focused on interacting and engaging with remembering through different memory sites.Travelling along a timeline of memory Tanja Sakota takes us on a journey through South Africa Germany Poland and Bosnia/Herzegovina. Using a camera and short film format Sakota hosts several workshops in different countries focused on interacting and engaging with remembering through different (...) memory sites. The author sits at the core but the book is an interdisciplinary work shaped around films made by different workshop participants using film to access personal interpretations of space and place. Questions that underpin the uncovering of memories are: How does one use a camera to make the invisible visible? How does one remember events that one hasnt necessarily experienced? How does one use film to interrogate the past from the future present? As the journey evolves workshop participants and readers alike enter into a conversation around practice-based research autoethnography and film. (shrink)

Trucage then exists when there is deceit. We may agree to use this term when the spectator ascribes to the diegesis the totality of the visual elements furnished him. In films of the fantastic, the impression of unreality is convincing only if the public has the feeling of partaking, not of some plausible illustration of a process obeying a nonhuman logic, but of a series of disquieting or "impossible" events which nevertheless unfold before him in the guise of eventlike appearances. (...) In the opposite case, the spectator undertakes a type of spontaneous sorting out of the visible material of which the filmic text is composed and ascribes only a portion of it to the diegesis. The services of the department of agriculture have worked more quickly because they were approached in an appropriate manner: this amounts to the diegesis. The film makes light of this sudden rapidity; ironically, it exaggerates it: here is the intention, which amounts to the enunciation. In the exact degree to which this perceptible bifurcation is maintained, the connotated will be unable to pass for denotated, and there is no trucage. The optical effect has not merged with the usual game of the photograms, the entire visual material has not been mistaken for the photographic, the diegetization has not been total. Christian Metz, one of the foremost French theorists of the cinema, is the author of Essais sur le signification au cinéma, Propositions méthodologiques pour l'analyse du film, and Langage et cinéma. He is Sous-Directeur d'Etudes Suppléant à l'Ecole Pratique des Hautes Etudes, Paris. This is the first English translation of "Trucage et cinéma," which appeared in Essais sur la signification au cinéma . Francoise Meltzer [the translator of this essay] is a professor of French literature and of comparative literature at the University of Chicago. She is the author of The Trial of Psychoanalysis, Salome and the Dance of Writing, and Hot Property: The Stakes and Claims of Literary Originality. Her essay, "Color as Cognition in Symbolist Verse," is published in Critical Inquiry in the Winter 1978 issue. (shrink)

Max Scheler never published a theory of art, but his aesthetics, like the rest of his thought, occupies an intriguing position that links early phenomenology, Catholic personalist thought, and philosophical anthropology. His metaphysics of the person and theory of value, when combined with his account of the lived-body and of our access to other minds through love, translates into a powerful, humanistic theory of art. This article elaborates what Scheler’s aesthetics would look like had he developed it and applied it (...) to film. Film offers an intimate access to the lives, bodies, and minds of others that is particularly well-suited to Scheler’s idea that art reveals the moral personality—the ordo amoris or “order of love”—that makes up the value-essence of the person. The person’s unique and highest possibilities for acting, feeling, and valuing are the contents of their spiritual essence and these, often thought obscure and inaccessible, are made present in film. (shrink)

The aim of this article is to show how the critically acclaimed and award winning film Margin Call may be used in business ethics teaching. Set in a fictional investment bank at the dawn of the financial crisis, the film zooms in on the motivations and decision-making of people who had much to lose from the crash of the hitherto very profitable mortgage-backed securities market. The film offers rich material for analysis of behaviours that contributed to (...) the crisis. The article will set out topics for classroom discussion, including the impact of incentives and power structures, contextual factors that distance people from the consequences of their actions, and considerations of how the banking industry may be transformed. (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)