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Philosophy through film

New York: Routledge. Edited by Amy Karofsky (2002)

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  1. Nachdenken im Kinosessel? Bioethische Reflexion durch Filme als eine neue Möglichkeit der Diskussion von Standpunkten und Betroffenheit.Sabine Wöhlke, Solveig Lena Hansen & Silke Schicktanz - 2015 - Ethik in der Medizin 27 (1):1-8.
    ZusammenfassungIm Spielfilm Never Let Me Go werden Klone als vulnerable und heteronome Individuen dargestellt, die zur anonymen Organspende gezwungen werden. In diesem Beitrag wird die Darstellung dieser Figuren in ihrer individuellen Entwicklung und gesellschaftlichen Sozialisation unter der Frage untersucht, welche Bezüge sich zu bioethischen Aspekten ergeben. Die Klone befinden sich in einer Situation der „privilegierten Deprivation“: Aus Sicht der Zuschauer sind sie sozial benachteiligt und können sich nicht zu komplett autonomen Wesen entwickeln, aber aus ihrer eigenen Perspektive sind sie im (...)
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  • Recent work on cinema as philosophy.Paisley Livingston - 2008 - Philosophy Compass 3 (4):590-603.
    Although the cinematic medium can be used in philosophically valuable ways, bold contentions about how films 'do philosophy' in an independent, innovative and exclusively cinematic manner are highly problematic. Philosophers' interpretations of the stories conveyed in cinematic fictions do not actually support such bold claims about film's independent philosophical value; nor do they offer adequate appreciations of the films' artistic value. Different kinds of interpretations having different goals and conditions of success should be kept in view if we are to (...)
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  • Augmented reality and ubiquitous computing: the hidden potentialities of augmented reality.Nicola Liberati - 2016 - AI and Society 31 (1):17-28.
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  • Merleau-Ponty and Epistemology Engines.Don Ihde & Evan Selinger - 2004 - Human Studies 27 (4):361-376.
    One of us coined the notion of an “epistemology engine.” The idea is that some particular technology in its workings and use is seen suggestively as a metaphor for the human subject and often for the production of knowledge itself. In this essay, we further develop the conceptand claim that Merleau-Ponty’s phenomenological commitments, although suggestive, did not lead him to appreciate the epistemological value of materiality. We also take steps towards establishing how an understanding of this topic can provide the (...)
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  • Reflections on Popular Culture and Philosophy.Alexander Christian - 2021 - Kriterion – Journal of Philosophy 35 (4):335-357.
    Contributions to the philosophical genre of popular culture and philosophy aim to popularize philosophical ideas with the help of references to the products of popular culture with TV series like The Simpsons, Hollywood blockbusters like The Matrix and Jurassic Park, or popular music groups like Metallica. While being commercially successful, books in this comparatively new genre are often criticized for lacking scientific rigor, providing a shallow cultural commentary, and having little didactic value to foster philosophical understanding. This paper discusses some (...)
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  • What is it like to be John Malkovich?Tom McClelland - 2010 - Postgraduate Journal of Aesthetics 7 (2):10-25.
    To what extent can film - or individual films - act as a vehicle of or forum for philosophy itself?. Many have responded that films can indeed do philosophy to a substantial degree. Furthermore, it has been claimed that this virtue does not belong solely to ‘art’ films, but that popular cinema too can do philosophy. A case in point is Spike Jonze’s 1999 film Being John Malkovich, the Oscar-winning screenplay of which was written by Charlie Kaufman. The outrageous premise (...)
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