This article explores the responses to nihilism offered by Jean-Luc Marion and Martin Heidegger. In particular, this paper offers a response to Steven DeLay’s ‘The vanity of authenticity’; DeLay’s text argues for the superiority of Marion’s response to nihilism through his notion of vanity and, further, argues that this supposed defeat of Heidegger by Marion lays the foundation for the theological turn in philosophy. This paper will instead suggest that Marion has not in fact surpassed Heidegger, that his concept of (...) vanity does not represent a meaningful innovation, and that his answer to nihilism/vanity through love is more similar to Heidegger’s response than either DeLay or Marion acknowledges. DeLay’s reading focuses on Heidegger’s Being and Time, but uses this reading to dismiss Heidegger’s work in its entirety. This paper will, instead, focus on Heidegger’s later work, which is ignored by both Marion and DeLay, offering particular attention to the shift in Heidegger’s response to nihilism as he increases his engagement with the thought of Friedrich Nietzsche and introduces the concept Gelassenheit, which generally replaces the terminology of authenticity after the 1940s. (shrink)

In this article, I engage with Shawn Loht’s argument concerning film viewing as being-in-the-world, developed in his book Phenomenology of Film: A Heideggerian Account of the Film Experience (2017), focusing on the aesthetics of mood with particular attention to boredom. I elaborate on a phenomenological ontology of the film experience and its perceptual “rules” which hinge on aesthetic choices: what kind of world does the film open up for the viewer? Loht’s account of viewing Dasein enables us to deepen phenomenological (...) approaches regarding the relationship between (cinematic) moods and (filmic) understanding, and through his engagement with Mitsein, to expand on film spectatorship conceived as a relation with a shared film world. I look at how Heideggerian boredom can elicit spectatorial experiences and disclosure of meaning, as well as allowing characters’ being in the film world. A broader engagement with cinematic moods is also conducive to exploring limits and potentialities of a possible Heideggerian film-philosophy. To illustrate some of these points, I discuss Ryusuke Hamaguchi’s Drive My Car (2021), wherein boredom is consistently awakened through aesthetic strategies of dead-time, silence, slowness and repetition. In the film, the mood of boredom, but also that of love and grief as world-disclosing moods which produce a radical change in our being-in-the-world, is a way to establish a sense of our embeddedness, orient our understanding and disclose our finitude and solitude. (shrink)