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Switch to: References
Citations of:
Theses on cinema as philosophy
Journal of Aesthetics and Art Criticism 64 (1):11–18 (1991)
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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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The idea that films can be philosophical, or in some sense ‘do’ philosophy, has recently found a number of prominent proponents. What is at stake here is generally more than the tepid claim that some documentaries about philosophy and related topics convey philosophically relevant content. Instead, the contention is that cinematic fictions, including popular movies such as The Matrix, make significant contributions to philosophy. Various more specific claims are linked to this basic idea. One, relatively weak, but pedagogically important observation (...) |
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The idea that fictions may educate us is an old one, as is the view that they distort the truth and mislead us. While there is a long tradition of passionate assertion in this debate, systematic arguments are a recent development, and the idea of empirically testing is particularly novel. Our aim in this chapter is to provide clarity about what is at stake in this debate, what the options are, and how empirical work does or might bear on its (...) |
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This article lies at the intersection of two problems: the one concerning the potential of fictional works to inform us about our social reality and foster our understanding of its various aspects, and the one concerning their potential to engage with philosophical issues. I bring these two together by analyzing the hit television series Law and Order: Special Victims Unit. According to my interpretation, the series is informative about our social world, and it raises philosophical concerns about it. This makes (...) |
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Bioethical discourse on organ donation and transplantation medicine covers a wide range of topics, from informed consent procedures and scarcity issues up to transplant tourism and organ trade. Over the past decades, this discourse evolved into a stream of documents of bewildering proportions, encompassing thousands of books, papers, conferences, blogs, consensus meetings, policy reports, media debates and other outlets. Beneath the manifest level of discourse, however, a more latent dimension can be discerned, revolving around issues of embodiment, the moral status (...) |
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The “film as philosophy” (FAP) hypothesis turned into a field if its own right during the 2000s, after S. Mulhall’s On Film (2001). In this work, Mulhall defended that some films philosophize for themselves. This caused controversy. Around the same time of On Film’s release, B. Russell published the article “The philosophical limits of film” (2000). This article had one of the first attacks against FAP, posing some main objections based on metaphilosophical grounds, which were called the “generality” and the (...) |
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The purpose of this essay is to argue that Blade Runner: The Final Cut (Ridley Scott, 2007) has cognitive value which is inseparable from its value as a work of cinema. I introduce the cinematic philosophy debate in §1. §2 sets out my position: that the Final Cut affirms the proposition there is no necessary relation between humanity and human beings. I outline the combination of cinematic depiction with distinctive features of the narrative’s peripeteia in §3. In §4, I explain (...) |
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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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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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TV series are gaining increasing attention in current research. However, their aesthetic potential for visualizing ethical issues and both forming and facilitating collective inquiry into democratic values has not yet been fully appreciated. Because of their format (weekly/seasonal regularity, home viewing) and the participatory qualities of Internet usage (tweeting, chat forums), series allow for a new form of education by expressing complex issues through narrative and characters. This education is both political and moral. This topical issue elucidates the power, diversity, (...) |
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Drama is a relatively unexplored tool in academic science education. This paper addresses in what way the use of drama may allow science students to deepen their understanding of recent developments in the emerging and controversial field of neuro-enhancement, by means of a case study approach. First, we emphasise the congruency between drama and science, notably the dramatic dimension of experimental research. Subsequently, we draw on educational literature to elaborate the potential of using drama as a teaching modality, specifically focusing (...) |
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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 (...) |
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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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There is a long-standing debate about whether poetry can make a substantive contribution to philosophy with compelling arguments to show that poetry and philosophy involve distinct modes of thought and aims, albeit with similar concerns. This paper argues that reading lyric poetry can play a substantive role in philosophy by helping the philosopher understand how to forge connections with the perspectives of others. The paper takes the view that poetry is not directly philosophical but can play an important role in (...) |
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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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Quaderns de filosofia V, 1 Número complet / Número completo / Full Issue. |
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