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  1. Death as Film-Philosophy’s Muse: Deleuzian Observations on Moving Images and the Nature of Time.Susana Viegas - 2023 - Film-Philosophy 27 (2):222-239.
    This article explores the affinities between film and philosophy by returning to a shared meditation on death and the nature of time. Death has been considered the muse of philosophy and can also be considered the muse of film-philosophy. But what does it mean to say that to film-philosophise is to learn to die, or a kind of training for dying? Film is an artistic object that reminds us of death’s inevitability; it is a meditation on the transient and finite (...)
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  • Die Pest in Zeiten von Corona – Philosophie und Literatur bei Albert Camus.Nicola Mößner - 2023 - Philokles 25:4-32.
    Im März 2020 änderte sich das Leben für viele (nicht nur in Deutschland) radikal. Das Virus SARS-CoV-2, besser bekannt als „COVID-19-“ oder „Corona-Virus“, breitete sich als Verursacher einer zwischenzeitlich global virulenten Pandemie in unvermuteter Geschwindigkeit aus. Es verwundert nicht, dass viele in dieser unsicheren Zeit auf der Suche nach Orientierung nach scheinbar bekannten Mustern fahnden. Ein solches Muster glaubten offenbar einige, in Camus’ Roman "Die Pest" finden zu können, ein Roman, der – dem Titel nach – auch von einer Seuche (...)
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  • Romantic Film-Philosophy and the Notion of Philosophical Film Criticism.Cato Wittusen - 2016 - Film-Philosophy 20 (2-3):198-218.
    A common critique directed at many philosophical readings of films is that they fall short of paying careful attention to film aesthetics. The film-philosopher Robert Sinnerbrink, who defends what he has dubbed ‘romantic film-philosophy’, is a notable exception on this score. Taking his cues from Stanley Cavell's writings on film, Sinnerbrink has developed and argued for a notion of philosophical criticism that takes aesthetic qualities of film into consideration. This paper attempts to relate Sinnerbrink's notion of philosophical criticism to recent (...)
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  • Science Fiction as a Genre.Enrico Terrone - 2021 - Journal of Aesthetics and Art Criticism 79 (1):16-29.
    Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional ‘novum’ validated by cognitive (...)
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  • Socratic Film.Nicholas Diehl - 2016 - Journal of Aesthetics and Art Criticism 74 (1):23-34.
    This article is about a relationship between the Socratic practice of philosophy and the aesthetic practice of watching and appreciating film. The conclusion that I defend is that certain narrative films, like the elenctic method in the hands of Socrates, are philosophical tools for examining our cognitive and emotional life and thus for gaining insight into aspects of our character. In the early sections of the article I construct an analogy between the practice of watching narrative film and the practice (...)
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  • Visual Information and Scientific Understanding.Nicola Mößner - 2015 - Axiomathes 25 (2):167-179.
    Without doubt, there is a widespread usage of visualisations in science. However, what exactly the _epistemic status_ of these visual representations in science may be remains an open question. In the following, I will argue that at least some scientific visualisations are indispensible for our cognitive processes. My thesis will be that, with regard to the activity of _learning_, visual representations are of relevance in the sense of contributing to the aim of _scientific_ _understanding_. Taking into account that understanding can (...)
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  • The Medium Is the (Discriminatory) Message: The Medial Epistemic Injustices of Philosophy.Giacomo Pezzano - 2024 - Philosophies 9 (6):169.
    This paper brings the analysis of epistemic injustices and the perspective of media philosophy into dialogue by proposing the new concept of medial epistemic injustice. After introducing the topic, the contribution confronts some metaphilosophical stances in light of the recent medial turn in order to suggest that, despite all their controversies, philosophers seem to agree that doing philosophy uniquely involves writing texts. This discussion sets the stage for the claim that institutionally sanctioned philosophy manifests a mono-genreism that only admits one (...)
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  • Reflexive Wonderings: Prospects and Parameters of a Heideggerian Approach to Film as Philosophy.Martin P. Rossouw - 2024 - Film-Philosophy 28 (1):47-61.
    This response article addresses the conception of “film as philosophy” developed by Shawn Loht in his book Phenomenology of Film: A Heideggerian Account of the Film Experience (2017), with specific attention to the relevance and implications of Loht's approach for the broader debate beyond a strictly Heideggerian film-philosophy. The article proceeds in three distinct takes. The first take examines Loht's later-Heideggerian inspirations, arguing that although these more fundamental notions of philosophy open significant possibilities for film as philosophy, they nevertheless run (...)
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  • Cartesianism and Intersubjectivity in Paranormal Activity and the Philosophy of Mind.Steve Jones - 2017 - Film-Philosophy 21 (1):1-19.
    Over the last century within the philosophy of mind, the intersubjective model of self has gained traction as a viable alternative to the oft-criticised Cartesian solipsistic paradigm. These two models are presented as incompatible inasmuch as Cartesians perceive other minds as “a problem” for the self, while intersubjectivists insist that sociality is foundational to selfhood. This essay uses the Paranormal Activity series (2007–2015) to explore this philosophical debate. It is argued that these films simultaneously evoke Cartesian premises (via found-footage camerawork), (...)
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  • Introduction.Robert Sinnerbrink - 2017 - Film-Philosophy 21 (3):259-264.
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  • Murdoch and Margaret : Learning a Moral Life.Lucy Bolton - 2017 - Film-Philosophy 21 (3):265-280.
    Reading the moral philosophy of Iris Murdoch alongside film enables us to see Murdoch's notions of practical moral good in action. For Murdoch, moral philosophy can be seen as “a more systematic and reflective extension of what ordinary moral agents are continually doing”. Murdoch can help us further by her consideration of the value of a moral fable: does a morally important fable always imply universal rules? And how do we decide whether a fable is morally important? By bringing Murdoch (...)
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  • Happy-Go-Lucky Revisited: A Response to Basileios Kroustallis.Christopher Grau - 2015 - Film-Philosophy 19 (1):1-15.
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  • Action and Agency in The Red Shoes.Paul Schofield - 2018 - Film-Philosophy 22 (3):484-500.
    In this paper, I argue that Michael Powell and Emeric Pressburger's ballet musical The Red Shoes is concerned with topics surrounding phenomenology, action, and embodied agency, and that it exploits resources that are uniquely cinematic in order to “do philosophy.” I argue that the film does philosophy in two ways. First, it explicates a phenomenological model of action and agency. Second, it addresses itself to the philosophical question of whether an individual's non-reflective movements – those that are not the result (...)
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  • “I Said Something Wrong”: Transworld Obligation in Yesterday.Steven Gimbel & Thomas Wilk - 2021 - Film-Philosophy 25 (2):151-164.
    Danny Boyle's film Yesterday is a contemporary morality play in which the main character, Jack Malik, a failing singer-songwriter, is magically sent to a different possible world in which the Beatles never existed. Possessing his memory of the Beatles’ catalogue in the new possible world, he is now in sole possession of an extremely valuable artifact. Recording and performing the songs of the Beatles and passing them off as his own, he becomes rich, famous, and deeply unhappy. Once he confesses (...)
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  • The Future of Art Criticism: Objectivism Goes to the Movies.Kyle Barrowman - 2018 - Journal of Ayn Rand Studies 18 (2):165-228.
    By virtue of an extended consideration of problems and possibilities in the discipline of film studies toward the goal of constructing an Objectivist aesthetics of cinema, this article examines some of the most pressing issues facing contemporary art criticism. Opposing tenets of an Aristotelian aesthetic tradition against tenets of a Kantian aesthetic tradition, the author attempts to resolve a number of long-standing aporias in the Objectivist aesthetics and in the philosophy of art more broadly in the hopes of charting a (...)
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  • Experiencing Force Majeure.Christopher Falzon - 2017 - Film-Philosophy 21 (3):281-298.
    This article looks at the 2014 Swedish comedy-drama Force Majeure as a kind of moral thought experiment, but also insofar as it might not fit such a model. The idea of a cinematic ethics, of cinema as providing an avenue for thinking through ethics and exploring ethical questions, finds at least one expression in the idea of film as experimental in this sense. At the same time, simply subsuming film to the philosophical thought experiment risks forgetting what film itself brings (...)
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  • The view from outside: On a distinctively cinematic achievement.Mario De Caro & Enrico Terrone - 2016 - Philosophy and Social Criticism 42 (2):154-170.
    What aesthetic interest do we have in watching films? In a much debated paper, Roger Scruton argued that this interest typically comes down to the interest in the dramatic representations recorded by such films. Berys Gaut and Catharine Abell criticized Scruton’s argument by claiming that films can elicit an aesthetic interest also by virtue of their pictorial representation. In this article, we develop a different criticism of Scruton’s argument. In our view, a film can elicit an aesthetic interest that does (...)
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  • (1 other version)Thoughts on Film: Critically engaging with both Adorno and Benjamin.Laura D’Olimpio - 2014 - Educational Philosophy and Theory 47 (6):622-637.
    There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a subcategory of Art proper, it is worth reconsidering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. Adorno, for example, critiques film as ‘mass-cult’, mass-produced culture which presents a ‘flattened’ version of reality. Adorno worries (...)
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  • Toward a Cinematic Pedagogy: Gilles Deleuze and Manoel de Oliveira.Susana Viegas - 2016 - Journal of Aesthetic Education 50 (1):112-122.
    On the one hand, there’s the internal development of cinema as it seeks new audio-visual combinations and major pedagogical lines and finds in television a wonderful field to explore.1My aim in this essay will be to approach cinema, philosophy, and cinematic pedagogy through an exploration of the interest and impact that the Portuguese filmmaker Manoel de Oliveira has had on the philosophical thought regarding cinema and the moving images of Gilles Deleuze. According to Deleuze, there is a principle of affinity (...)
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  • Reluctant Heroes and Itchy Capes: The Ineluctable Desire to Be the Savior.Laura D’Olimpio & Michael P. Levine - 2019 - Journal of Aesthetic Education 53 (4):71-85.
    In "The Imagination of Disaster," written at or close to the height of the Cold War, Sontag ruminates on what America's interest in, if not preoccupation with, science fiction films tell us about ourselves.1 Their popularity cannot be explained in terms of their entertainment value alone; or if it can, then why audiences found such films entertaining is something that itself needs explanation. Almost all films in the hero genre are also science fiction and are concerned with disasters of one (...)
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  • Cavellian Meditations: How to do Things with Film and Philosophy.Robert Sinnerbrink - 2014 - Film-Philosophy 18 (1):50-69.
    Stanley Cavell's writing on film has been an important inspiration for the recent 'philosophical turn' in film theory. But few studies have explored the significance of Cavell's style of writing, how it communicates his distinctive manner of thinking with film. This article explores Cavell's style as a way of doing philosophy, and suggests that his attempt to capture the aesthetic experience of film in evocative prose makes an important contribution to developing new ways of thinking in film-philosophy.
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  • Phenomenological Preconditions of the Concept of Film-as-Philosophy.Shawn Loht - 2015 - Journal of Aesthetics and Phenomenology 2 (2):171-185.
    This article surveys influential views on the topic of film-as-philosophy, principally the positions of Bruce Russell, Thomas Wartenburg, Noël Carroll, and Stephen Mulhall. Historically, this conversation has been restricted to a somewhat conservative view initiated by Russell and defended by others, according to which the film medium is fundamentally incapable of generating positive philosophical achievement in purely cinematic fashion. One of my interests is to show how the dialogue initiated by Russell suffers from relying on overly restrictive notions of what (...)
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