'I too was superfluous' -- 'Outside, in the world, among others' -- 'Hell is other people' -- 'He is playing at being a waiter in a café' -- 'In war there are no innocent victims' -- 'I am obliged to want others to have freedom' -- 'The authentic Jew makes himself a Jew' -- 'The eyes of the least favoured' -- 'A future more or less blocked off' -- 'Man is violent'.

Sartre explains the theory of existential psychoanalysis in this treatise on human reality.

Introduction -- Time and matter: temporality, embodied subjectivity and film phenomenology -- Knowing and nothing: Chris Marker, subjective temporalities and vocalic bodies in the future tense -- Agnès Varda's Trinket box: subjective relationality, affect and temporalised space -- Burlesque gestures and bodily attention: phenomenologies of the ephemeral in Chantal Akerman -- Threatened corporealities: thinking with the films of Philippe Grandrieux -- Conclusion: rethinking cinematic subjectivity and beyond.

What is one to make of Sartre's treatment of his waiter in one of his famous analyses of bad faith? The example is supposed to be an obvious one, but the more we examine it, the less obvious it becomes. Let us remind ourselves of Sartre's example: Let us consider this waiter in the café. His movement is quick and forward, a little too precise, a little too rapid. He comes toward the patrons with a step a little too quick. (...) He bends forward a little too eagerly; his voice, his eyes express an interest a little too solicitous for the order of the customer. Finally there he returns, trying to imitate in his walk the inflexible stiffness of some kind of automaton while carrying his tray with a recklessness of a tight-rope walker by putting it in a perpetually unstable, perpetually broken equilibrium which he perpetually re-establishes by a light movement of the arm and hand. (shrink)

Consciousness -- Freedom -- Bad faith -- Authenticity.

One of the characteristic features of Sartre’s philosophical writing, especially in Being and Nothingness, is his use of extended narrative vignettes that immediately resound with the reader’s own experience yet are intended to illustrate, perhaps also to support, complex and controversial claims about the structures of conscious experience and the shape of the human condition. Among the best known are his description of Parisian café waiters, who somehow contrive to caricature themselves, and his analysis of feeling shame upon being caught (...) spying through a keyhole. Commentators disgaree over what these two examples are intended to convey and how they relate to one another. My aim here is to defend and enrich the interpretation of these vignettes and their associated theories that I offer in my book, The Existentialism of Jean-Paul Sartre. On this reading, the waiter should be understood, as he usually is, as as an example of bad faith, but this discussion of bad faith is much more significant than has generally been recognised. We should read the later discussion of shame and interpersonal relations within this framework of bad faith. Sartre describes two aspects of shame: the revelation of the existence of what Sartre calls ‘the Other’, a perspective on the world other than my own; and the ascription to another person of a particular kind of attitude towards me. This second aspect presupposes the first, but is not essential to shame. It is simply the way we experience other people within the project of bad faith. (shrink)