This article is a psychological analysis of the film A Thin Red Line by Terrence Malick. It examines the work from the perspective of Jungian complex theory.

Generation of clean energy is one of the main challenges of the 21st century. Solar energy is the most abundantly available renewable energy source which would be supplying more than 50 of the global electricity demand in 2100. Solar cells are used to convert light energy into electrical energy directly with an appeal that it does not generate any harmful bi products, like greenhouse gasses. The manufacturing of solar cells is actually based on the types of semiconducting or non semiconducting (...) materials used and commercial maturity. From the very beginning of the terrestrial use of Solar Cells, efficiency and costs are the main focusing areas of research. The definition of so called emerging technologies sometimes described as including any technology capable of overcoming the Shockley-Queisser limit of power conversion efficiency 33.7 percent for a single junction device. In this paper, few promising materials for solar cells are discussed including their structural morphology, electrical and optical properties. The excellent state of the art technology, advantages and potential research issues yet to be explored are also pointed out. Md. Samiul Islam Sadek | Dr. M Junaebur Rashid | Dr. Zahid Hasan Mahmood "Emerging Next Generation Solar Cells: Route to High Efficiency and Low Cost" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-1 | Issue-4 , June 2017 . (shrink)

There has been a great deal of talk about the upcoming Queer Festival in Sarajevo. However, the discussion has taken on a bitter tone because some have made much of the fact that the organizers plan to hold the festival during the month of Ramadan. To hold the festival during that time, according to some pious Muslims, is a blasphemous act, one that is rude and disrespectful towards those of the faith. Of course, we must not forget that this festival (...) is following on the heels of another festival, the Sarajevo Film Festival. A few films touched on the subject of homosexuality (LA LEON, 2007), but I do not remember hearing much, if any, disapproval of screening films of the gay and lesbian genre. Perhaps the festival's international acclaim, it not being held during Ramadan, and the genre's thin representation had something to do with the lack of criticism. What I find remarkable about the upcoming festival is not when it will be held, but that it will be held; that members of various sexual communities, including the gay and lesbian community of Sarajevo (and, no doubt, many from the "straight" community), have united to put on a.. (shrink)

This is a transcript of a conversation between P F Strawson and Gareth Evans in 1973, filmed for The Open University. Under the title 'Truth', Strawson and Evans discuss the question as to whether the distinction between genuinely fact-stating uses of language and other uses can be grounded on a theory of truth, especially a 'thin' notion of truth in the tradition of F P Ramsey.

Abstract: A complex parasite such as human Plasmodium is likely to generate a variety of substances that injure the hosts directly or cause immunopathology. In malaria, a blood concentration of anti-inflammatory cytokines, such as interleukin (IL-10) is increased. The present study was performed to analyze IL-10 levels in patients with malaria falciparum and healthy controls individuals and correlate with malaria density infection as well as age groups. It is a cross sectional study was carried out in Khartoum state /Sudan, a (...) total of 70 febrile patients and 20 healthy volunteers as controls were included in this study. Blood samples were collected from both patients and control candidates in (EDTA) containers for parasitological and immunological tests. Immunochromatography test and microscopic examination for both thick and thin blood films were used to detect the positive samples for Plasmodium falciparum. Enzyme linked Immunosorbant Assay (ELISA), was used for the determination of IL-10 levels. The result showed that of IL-10 levels in malaria patients were 1598.50 and SD 4771.64 while the levels in healthy participants the level was 10.39 and SD was 124.33 the difference was found to be statistically significant (P= 0.007). The levels of cytokines mentioned above were observed to be raised in malaria individual compared to healthy control candidates. (shrink)

Do philosophers use intuitions? Should philosophers use intuitions? Can philosophical methods (where intuitions are concerned) be improved upon? In order to answer these questions we need to have some idea of how we should go about answering them. I defend a way of going about methodology of intuitions: a metamethodology. I claim the following: (i) we should approach methodological questions about intuitions with a thin conception of intuitions in mind; (ii) we should carve intuitions finely; and, (iii) we should (...) carve to a grain to which we are sensitive in our everyday philosophising. The reason is that, unless we do so, we don’t get what we want from philosophical methodology. I argue that what we want is information that will aid us in formulating practical advice concerning how to do philosophy responsibly/well/better. (shrink)

There seems to be a minimal core that every theory wishing to accommodate the intuition that the future is open must contain: a denial of physical determinism (i.e. the thesis that what future states the universe will be in is implied by what states it has been in), and a denial of strong fatalism (i.e. the thesis that, at every time, what will subsequently be the case is metaphysically necessary).1 Those two requirements are often associated with the idea of an (...) objective temporal flow and the non-reality of the future. However, at least certain ways to frame the “openness” intuition do not rely on any of these. Branching Time Theory (BTT) is one such: it is compatible with the denial that time flow is objective and it is couched in a language with a (prima facie) commitment to an eternalist ontology. BTT, though, urges us to resist certain intuitions about the determinacy of future claims, which arguably do not lead either to physical determinism or to fatalism. Against BTT, supporters of the Thin Red Line Theory (TRL) argue that their position avoids determinism and fatalism, while also representing the fact that there is a future which is “special” because it is the one that will be the case. But starting with Belnap and Green 1994, some have objected to the tenability of TRL, mainly on metaphysical grounds. In particular, those argue that “positing a thin red line amounts to giving up objective indeterminism,”2 and that “has unacceptable consequences, ranging from a mistreatment of actuality to an inability to talk coherently about what would have happened had what is going to happen not taken place.”3 In this paper, we wish to reframe the.. (shrink)

Philosophers and linguists currently lack the means to reliably identify evaluative concepts and measure their evaluative intensity. Using a corpus-based approach, we present a new method to distinguish evaluatively thick and thin adjectives like ‘courageous’ and ‘awful’ from descriptive adjectives like ‘narrow,’ and from value-associated adjectives like ‘sunny.’ Our study suggests that the modifiers ‘truly’ and ‘really’ frequently highlight the evaluative dimension of thick and thin adjectives, allowing for them to be uniquely classified. Based on these results, we (...) believe our operationalization may pave the way for a more quantitative approach to the study of thick and thin concepts. (shrink)

According to Marshall et al. (2024), some of the patients who refuse to stay in observation after being resuscitated following an opioid overdose are likely not making an autonomous choice. While I do not intend to dispute this claim, it merits discussion what is the concept of autonomy at play in making this assessment. I contend that the concept at work is more substantive than Marshall et al. acknowledge—and more substantive, too, than the form of autonomy usually thought to underpin (...) the moral justification of the requirement of informed consent . (shrink)

Siegel and Byrne debate whether perceptual experiences present rich properties or exclusively thin properties.

The aim of this paper is to argue that the adoption of an unrestricted principle of bivalence is compatible with a metaphysics that (i) denies that the future is real, (ii) adopts nomological indeterminism, and (iii) exploits a branching structure to provide a semantics for future contingent claims. To this end, we elaborate what we call Flow Fragmentalism, a view inspired by Kit Fine (2005)’s non-standard tense realism, according to which reality is divided up into maximally coherent collections of tensed (...) facts. In this way, we show how to reconcile a genuinely A-theoretic branching-time model with the idea that there is a branch corresponding to the thin red line, that is, the branch that will turn out to be the actual future history of the world. (shrink)

Some tools introduced by Linnebo to show that mathematical entities are thin objects can also be applied to non-mathematical entities, which have been thought to be thin as well for a variety of reasons. In this paper, I discuss some difficulties and opportunities concerning the application of abstraction and interpretational modalities to mereological sums. In particular, I show that on one hand some prima facie attractive candidates for the role of an explanatory plural abstraction principle for mereological sums (...) (in terms of pluralities of summed entities) are not really explanatory; on the other hand, singular abstraction principles (in terms of single summed entities) are materially inadequate. Nonetheless, explanatory criteria of identity and conditions of existence for mereological sums are provided by classical extensional mereology independent of abstraction principles. Thus, given classical extensional mereology, the reasons why, according to Linnebo, mathematical abstracted entities are thin also hold for mereological sums. Finally, I contend that interpretational modalities can be used to characterise the process by which a subject adds sums of previously admitted entities to the domain of quantification. (shrink)

In this short paper we consider Linnebo's thin/thick dichotomy: first, we show that it does not overlap with the very common one between abstract/concrete objects; second, on the basis of some difficulties with the distinction, we propose, as a possible way out, to move from thin/thick objects to thin/thick concepts.

Iris Murdoch’s The Sovereignty of Good—especially the first essay, “The Idea of Perfection”—is often associated with a critique of a certain picture of agency and its proper place in ethical thought. There is implicit in this critique, however, an alternative, much richer one. I propose a reading of Murdochian agency in terms of the continuous activity of cultivating and refining a distinctive practical standpoint, and I apply this reading to her account of moral progress. For Murdoch moral progress depends on (...) transcending egoism and achieving clear perception of a normatively-saturated reality, but it would be a mistake to think of egoism in terms of selfishness, or clarity in terms of altruism. Rather, I argue, Murdochian moral progress requires overcoming socially-conditioned and often ideological forms of alienation, and making the social conditions that inform our practical standpoints self-conscious. (shrink)

This paper investigates the logic of Ockhamism, a view according to which future contingents are either true or false. Several attempts have been made to give rigorous shape to this view by defining a suitable formal semantics, but arguably none of them is fully satisfactory. The paper draws attention to some problems that beset such attempts, and suggests that these problems are different symptoms of the same initial confusion, in that they stem from the unjustified assumption that the actual course (...) of events must be represented in the semantics as a distinguished history, the Thin Red Line. (shrink)

Linnebo in 2018 argues that abstract objects like numbers are “thin” because they are only required to be referents of singular terms in abstraction principles, such as Hume's principle. As the specification of existence claims made by analytic truths (the abstraction principles), their existence does not make any substantial demands of the world; however, as Linnebo notes, there is a potential counter-argument concerning infinite regress against introducing objects this way. Against this, he argues that vicious regress is avoided in (...) the account of arithmetic based on Hume's principle because we are specifying numbers in terms of the concept of equinumerosity, or its ordinal equivalent. But far from being only a matter for philosophy, this implies a distinct empirical prediction: in cognitive development, the principle of equinumerosity is primary to number concepts. However, by analysing and expanding on the bootstrapping theory of Carey in 2009, I argue in this paper that there are good reasons to think that the development could be the other way around: possessing numerosity concepts may precede grasping the principle of equinumerosity. I propose that this analysis of early numerical cognition can also help us understand what numbers as thin objects are like, moving away from Platonist interpretations. (shrink)

We distinguish between two categories of belief—thin belief and thick belief—and provide evidence that they approximate genuinely distinct categories within folk psychology. We use the distinction to make informative predictions about how laypeople view the relationship between knowledge and belief. More specifically, we show that if the distinction is genuine, then we can make sense of otherwise extremely puzzling recent experimental findings on the entailment thesis (i.e. the widely held philosophical thesis that knowledge entails belief). We also suggest that (...) the distinction can be applied to debates in the philosophy of mind and metaethics. (shrink)

A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in film and how they (...) can come together. (shrink)

Cornell realists maintain that irreducible moral properties have earned a place in our ontology in virtue of the indispensable role they play in a variety of explanations. These explanations can be divided into two groups: those that employ thin ethical concepts and those that employ thick ethical concepts. Recent work on thick concepts suggests that they are not inherently evaluative in their meaning. If correct, this creates problems for the moral explanations of Cornell realists, since the most persuasive moral (...) explanations are those that employ thick concepts. If thick concepts are not inherently evaluative, then the most plausible explanations on offer cannot support Cornell realism. Moral explanations employing thin concepts, however, are too flimsy to support the view. Unless proponents can develop a compelling story about thick concepts or thin explanations, Cornell realism is in trouble. (shrink)

This article explores the relation between cinema and philosophy through the lens of interest shown by some filmmakers in the lives and works of philosophers. It begins by delving into contemporary perspectives on the relationship between philosophy and cinema. In order to assess how the constitutive dissimilarity of the two terms and the ways in which they can be brought together are at the origin of speculative short circuits and experiences of wonder, it brings together the works of thinkers – (...) Cavell, Benjamin, and Kracauer; and filmmakers Rossellini, Montaldo, Keaton, and Jarman. Reflecting on the aesthetic and cultural impact of cinema is all the more important given the current omnipresence of images and prosthetic technologies that, with their incessant solicitations, threaten the processes of apprehension, learning, and conveying of knowledge. Thinking and perceiving differently thus becomes an essential function of cinema, one keenly performed in Safaa Fathy’s Derrida’s Elsewhere, analyzed in the last two sections. (shrink)

The importation of Lacanian psychoanalysis into film theory in the 1970s and 1980s ushered in a new era of cinema scholarship and criticism. Figures including Raymond Bellour, Laura Mulvey, and Christian Metz are often considered the pioneers of applying Lacanian psychoanalysis in the context of film theory, most notably through their writings in Screen Journal. However, where French and British scholarship on Lacan and film reached its limits, American Lacanianism flourished. When Joan Copjec’s now classic essay “The (...) Orthopsychic Subject: Film Theory and the Reception of Lacan” was published in 1989, the trajectory of Lacanian film theory would become radically altered; as Todd McGowan recently put it, the “butchered operation” on Lacan committed by Mulvey and (quoting Copjec) the “Foucaultianization” of Lacan under the auspices of Screen Journal were finally indicted in one gesture through Copjec’s critique. Copjec and McGowan’s unique American view of Lacan marks a pivotal point in the convergence of psychoanalytic theory and cinema studies; by seeking to wrest Lacan from historist/deconstructionist theories of the subject, and by revisiting Lacan beyond the mirror stage, Copjec and McGowan can be said to have instantiated a resuscitation or even a renaissance of Lacanian theory in film studies in particular and in American scholarship more generally. In this essay, this renaissance of Lacanian theory is examined, focusing on the innovations these two American thinkers brought to psychoanalytic film theory and the multiple paths carved out into other disciplines that followed. First, a detailed summation of the contentions between screen theory and Copjec’s position is introduced, as well as McGowan’s assessment thereof. Then, the trajectory of psychoanalytic film theory after Copjec’s arrival is the focus, including the major innovations in her thought from cinematic subjectivity to sexual difference (most notably from Read My Desire) and the way her position spread to philosophy and ontology. Finally, the article identifies the limitations of Copjec’s and McGowan’s thought and seeks new possibilities through which we may continue to apply psychoanalysis to the cinema in the wake of these two important thinkers. L’importation de la psychanalyse lacanienne dans la théorie du film au cours des années 1970 et 1980 a apporté une nouvelle ère de recherche et de critique cinématographiques. Des figures comme Raymond Bellour, Laura Mulvey et Christian Metz sont souvent considérées comme étant les pionniers dans l’application de la psychanalyse lacanienne au contexte de la théorie du film, surtout dans leurs écrits pour le Screen Journal. Par contre, là où les recherches françaises et britanniques sur Lacan et la cinématographie ont atteint leurs limites, le lacanisme américain a prospéré. La publication en 1989 de « The Orthopsychic Subject: Film Theory and the Reception of Lacan », l’essai classique de Joan Copjec, a complètement changé la trajectoire de la théorie lacanienne du film; comme Todd McGowan l’a récemment exprimé, « l’opération massacrée » commise sur Lacan par Mulvey et (citant Copjec) la « Foucaultisation » de Lacan sous les auspices de Screen Journal avaient finalement été accusées d’un seul coup par la critique de Copjec. Le point de vue uniquement américain de Copjec et de McGowan sur Lacan marque un tournant dans la convergence de la théorie psychanalytique et des études cinématographiques. En cherchant à arracher Lacan des théories historicistes/déconstructivistes du sujet, et en revisitant Lacan au-delà du stade du miroir, Copjec et McGowan ont instancié une ressuscitation, voire une renaissance, de la théorie lacanienne dans les études cinématographiques en particulier et dans les études américaines en général. Dans cet article, cette renaissance de la théorie lacanienne est examinée, mettant l’accent sur les innovations que ces deux penseurs américains ont apportées à la théorie psychanalytique du film et les multiples chemins tracés dans d’autres disciplines subséquentes. Premièrement, un résumé détaillé des différends entre la théorie du film et la position de Copjec est présenté, ainsi que l’évaluation de McGowan à ce sujet. Puis, la trajectoire de la théorie psychanalytique du film après l’arrivée de Copjec est mise de l’avant, notamment les innovations importantes de sa pensée de la subjectivité à la différence sexuelle (particulièrement dans Read My Desire) et la manière dont sa position s’est propagée dans la philosophie et l’ontologie. Finalement, l’article identifie les limites de la pensée de Copjec et de McGowan et cherche de nouvelles possibilités à travers lesquelles nous pourrions continuer d’appliquer la psychanalyse au cinéma après ces deux grands penseurs. (shrink)

This essay is my review of Erwin Leiser’s excellent documentary film Germany Awake. This classic film first aired in Germany in 1968, and remains to this day one of the best surveys of major Nazi-era movies and exactly what messages they were meant to convey. The film underscores the emphasis the regime put on film as one of the premier mechanisms of propaganda, though Leiser’s film points out that most of the cinema produced by the (...) Nazi regime was not pure propaganda, but mainly entertainment. In the review, I put forward a list of criteria for evaluating the degree of the deceptiveness of propaganda, and why cinema is so apt to exploit those criteria. (shrink)

A classic and fraught question in the philosophy of film is this: when you watch a film, do you experience yourself in the world of the film, observing the scenes? In this paper, we argue that this subject of film experience is sometimes a mere impersonal viewpoint, sometimes a first-personal but unindexed subject, and sometimes a particular, indexed subject such as the viewer herself or a character in the film. We first argue for subject pluralism: (...) there is no single answer to the question of what kind of subjectivity, if any, is mandated across film sequences. Then, we defend unindexed subjectivity: at least sometimes, films mandate an experience that is first-personal but not tied to any particular person, not even to the viewer. Taken together, these two theses allow us to see film experience as more varied than previously appreciated and to bridge in a novel way the cognition of film with the exercise of other imaginative capacities, such as mindreading and episodic recollecting. (shrink)

This entry addresses the question of whether justice is thick, thin, or neither. It discusses three main ways of understanding the difference between thick and thin – Williams’ 1985 distinction, the Continuum Approach, and Hare’s distinction. The question of how to classify justice turns out to be a problem for Williams’ 1985 distinction. If the Continuum Approach is correct, it’s far from clear why it would matter whether a given concept is classified as thick, thin, or neither. (...) Hare’s distinction, on the other hand, allows for a strong case to be made for the claim that “justice” is thick. And if “justice” is thick, in Hare’s sense, then there are at least two potential implications. The first is that justice might be a genuine value property, assuming it’s impossible for “just” to have a value-neutral counterpart. The second is that there might be intractable intercultural disagreements about what things are just. (shrink)

Discourse carries thin commitment to objects of a certain sort iff it says or implies that there are such objects. It carries a thick commitment to such objects iff an account of what determines truth-values for its sentences say or implies that there are such objects. This paper presents two model-theoretic semantics for mathematical discourse, one reflecting thick commitment to mathematical objects, the other reflecting only a thin commitment to them. According to the latter view, for example, the (...) semantic role of number-words is not designation but rather the encoding of cardinality-quantifiers. I also present some reasons for preferring this view. (shrink)

Inspired by the philosophy of Wittgenstein and his idea that the purpose of real philosophical thinking is not to discover something new, but to show in a strikingly different light what is already there, this book provides philosophical readings of a number of ‘arthouse’ and Hollywood films. Each chapter contains a discussion of two films—one explored in greater detail and the other analyzed as a minor key which reveals the possibility for the book's ideas to be applied across different films, (...) registers, and genres. The readings are not only interpretive, but they offer a way of thinking and feeling about, with, and through films which is genuinely transformative. Rupert Read’s main contention is that certain films can bring about a change in how we see the world. He advocates an ecological approach to film-philosophy analysis, arguing that film can re-shape the viewer’s relationship to the environment and other living beings. The transformative 'wake-up call' of these films is enlightenment in its true sense. The result is a book that ambitiously aims to change, though film, how we think of ourselves and our place in the world, at a time when such change is more needed than ever before. (shrink)

Há muito tempo, o filme noir americano tem sido objeto de estudos críticos, que buscam decifrar a sua estética enigmática e a mensagem desafiadora. Trilhando sobre o lado mais negativo da vida humana, a questão central que ele propõe é: o que o noir representa, como forma singular de arte cinematográfica? Ora, compreender o filme noir passa pela necessidade de vê-lo no âmbito da matriz histórica de produção que lhe serviu de berço. Essa matriz é o chamado cinema clássico hollywoodiano, (...) à luz do qual iniciaremos a nossa investigação do significado desse ciclo de filmes, com base em um sumário desenvolvido pelo professor David Bordwell, autoridade em narrativa clássica. Para tanto, nós buscaremos subsídios conceituais em uma corrente de pensamento igualmente ampla, a fenomenologia hermenêutica, que, acreditamos, poderá nos proporcionar alguma elucidação semântica, tendo em vista o notório esforço dos filósofos dessa tradição para clarificar o propósito da obra de arte, no ser da existência. Assim, ao estabelecer como termos comparativos o cinema clássico e a inquirição hermenêutica, conseguiremos padrões de referência sólidos para a nossa atividade exegética, que tanto se aplica ao conjunto dos filmes noir - especialmente aos da fase clássica, dos anos 1940 e 50 - quanto a um longa-metragem individual. Nessa empreitada, porém, não partiremos do zero, como se o cinema houvesse começado ontem. Antes, nos servirá de fio condutor certa teoria explicativa da técnica cinematográfica, em cujos esteios figuram nomes como André Bazin, Ismail Xavier e Marcia Ortegosa, além de Bill Nichols, o principal expoente dos estudos sobre documentários. Tal explanação de teor linguístico e semiótico, com ênfase nos aspectos lógicos-metadiscursivos do filme noir, será discriminada logo no início do trabalho, para que possamos firmar parâmetros de julgamento crítico, tendo em vista a reflexão semântica e fenomenológica que se seguirá. O objetivo dessa reflexão é entender o assim chamado dark cinema no seio do nosso próprio modo de ser no mundo. Dessa forma, se conseguirmos trazer um pouco de luz às trilhas obscuras do mundo noir, este autor se dará por recompensado. (shrink)

These days, Thin-client devices are continuously accessing the Internet to perform/receive diversity of services in the cloud. However these devices might either has lack in their capacity (e.g., processing, CPU, memory, storage, battery, resource allocation, etc) or in their network resources which is not sufficient to meet users satisfaction in using Thin-client services. Furthermore, transferring big size of Big Data over the network to centralized server might burden the network, cause poor quality of services, cause long respond delay, (...) and inefficient use of network resources. To solve this issue, Thinclient devices such as smart mobile device should be connected to edge computing which is a localized near to user location and more powerful to perform computing or network resources. In this paper, we introduce a new method that constructs its architecture on Thin-client -edge computing collaboration. Furthermore, present our new strategy for optimizing big data distribution in cloud computing. Moreover, we propose algorithm to allocate resources to meet Service Level Agreement (SLA) and Quality of Service (QoS) requirements. Our simulation result shows that our proposed approach can improve resource allocation efficiently and shows better performance than other existing methods. (shrink)

Non-Humean accounts of the metaphysics of nature posit either laws or powers in order to account for natural necessity and world-order. We argue that such monistic views face fundamental problems. On the one hand, neo-Aristotelians cannot give unproblematic power-based accounts of the functional laws among quantities offered by physical theories, as well as of the place of conservation laws and symmetries in a lawless ontology; in order to capture these characteristics, commitment to governing laws is indispensable. On the other hand, (...) ontologies that entirely exclude some kind of power ascription to worldly entities face what we call the Governing Problem: such ontologies do not have the resources to give an adequate account of how laws play their governing role. We propose a novel dualist model, which, we argue, has the resources to solve the difficulties encountered by its two dominant competitors, without inheriting the problems of either view. According to the dualist model, both laws and powers are equally fundamental and irreducible to each other, and both are needed in order to give a satisfactory account of the nomological structure of the world. The dualist model constitutes thus a promising alternative to current monistic views in the metaphysics of science. (shrink)

A recent panel at the annual meetings of the American Society for Aesthetics had the title “Can films philosophize?” The answer is, obviously, no, if we take this question literally. But books can’t philosophize either, in this sense. People philosophize, and they generally use natural language as the medium in which they carry out this activity. So our question is, can film serve as a philosophical medium in the ways, or in some of the ways, that language does? To (...) answer this question, we must first ask in what ways language functions as a philosophical medium. At a very general level, the answer to this question is fairly straightforward, if uninteresting. Language functions as a philosophical medium in that we use language to identify, articulate, clarify, and inter-relate what are viewed as philosophical issues, and to deepen our understanding of these issues and of the things that others say about them. What we take to be the significant philosophical issues, however, and what we take to be a contribution to deepening our understanding of these issues, may differ according to the philosophical tradition in which we work. If, for example, we think that the most fundamental philosophical issue is asking the question of Being, then our judgment as to when the linguistic medium is being used to ‘do philosophy’ is likely to differ substantially from the judgment we would make if we think that philosophers are best occupied analyzing everyday discourse or tending the separate gardens of the sciences. (shrink)

Recent work by Ian Aitken and others has sought to re-establish a "Realist approach" to the documentary film in reaction to the postmodernist, pragmatist approach popular in the 1970s and 80s. The Saussurian/Lacanian orientation o f the semiotics that played a large role in the older film theory is rejected and replaced by an analytic theory of representation based on the work of Mary Hesse, Hilary Putnam and W.V.O. Quine. Although this may seem a setback vis-a-vis semiotics, it (...) actually opens up Realist Film Theory to an application o f the doctrine of signs more closely aligned to traditional realism, that of Pierce and Poinsot. This presentation outlines how Realist Film Theory can be enriched and developed by such an application. In particular, Aitken's model for the processing of the truth-value communicated through a documentary film can be strengthened in this manner. We will look at a short filmic example to illustrate the resulting development of the theory, manifesting how the documentary film is anchored in both reliablyrepresenting reality and creatively organizing and construing it. (shrink)

This essay is my review of the classic TV series, Route 66. It was a classic “buddy movie,” with two young men who tour the country in a gorgeous 1956 Chevy Corvette, staying in various towns and working at various blue-collar jobs. The acting was generally superb, and the scripts were mainly written by the fine script writer Stirling Silliphant, and produced by the famous producer Herbert Leonard. I suggest that this 50-year-old series tells us a lot about cultural change (...) in America during that time. I suggest also that it helps demonstrate that the charge made by a famous cultural critic of the time—Newton Minow, who was Chairman of the Federal Communications Corporation from 1961 to 1963—that this period of commercial TV was a “vast wasteland” was not merely arrogantly elitist, but was in fact patently false. The 1950s and early 1960s saw many amazingly good series in a wide variety of genres. (shrink)

In this essay, I review a French-American gem of a movie, The Artist. This movie was an homage to the silent film era and is itself almost all silent. I discuss both the artistic and financial success of silent movies, and I praise this film for successfully interesting modern theater-goers despite its almost total lack of sound. The film won five Academy Awards, including Best Picture, Best Director, and—for its outstanding lead actor, Jean Dujardin—Best Actor. It is (...) the only French-produced movie to win Best Picture, and the only (almost entirely) silent movie to win Best Picture since the start of the Academy Awards in 1929. (shrink)

Heidegger's philosophical project is generally seen as atheoretical and anti-logical because he remarked on the subjective conditions of knowledge and the everydayness of human behaviors. To him, Dasein's everyday reasoning is coercively and inevitably framed by the present-at-hand modes of understanding. Heidegger alerts us about the possible origins of present-at-hand modes of everyday experience. One of them is Das Man that, is associated with a categorical otherness for Heidegger. It can be regarded as an origin of the primordial scheme of (...) experiences for Dasein that takes those experiences for granted as an axiological ground for their lives in the World. Heidegger sees that process as an inauthentic condition for Dasein's fundamental character. Everyday reasoning generates a variety of present-at-hand instruments to understand and interpret the World and Dasein itself; thus, Dasein moves between Das Man and authentic modes. With a Heideggerian approach, this article observes how the characters in the film Druk take themselves out of Das Man and go into the authentic mode and how they do this through alcohol. The primary data source is Druk and the four teacher characters in the film. In the movie, alcohol is not a ready- to-hand object but a tool motivating its users and pushing them to perform. It is an example equivalent to the Heideggerian analogy of the hammer. The movie is a well-fitting example of the Heideggerian position with the story of four teachers who experiment with having a certain amount of alcohol in their blood to achieve a better version of themselves. (shrink)

Academics have increasingly used video and other electronic methods to collect data and capture reflections from participants. But, until recently, it’s been less common to use film as way of disseminating the results of research. That’s beginning to change. Film can be a powerful way to share research findings with a broad audience. This is particularly true when academics are combining) the traditions of ethnography, documentary filmmaking, and storytelling. -/- Film and cinema are increasingly being used in (...) environmental humanities to complement – or challenge – text-based research. The filmmakers in the arts, sciences and humanities see potential in using the moving images within political philosophy, environmental politics, postcolonial studies, human geography, urban ecology, postcolonial studies, design and literature. An example of this is the film One Table Two Elephants. It is a cinematic ethnography created by two Swedish researchers and filmmakers Jacob von Heland and Henrik Ernstson. Based on years of research in Cape Town, it was filmed in 2015 as part of a longer-term research and film-project . The documentary deals with race, nature and knowledge politics in Cape Town as part of the ways of knowing urban ecologies research project. -/- . (shrink)

What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper (...) question: what is realism, if these are all to count as species of it? In answer, I articulate a sort of picture we have of realism, not just in film but in representations in general. I then ask how far each of the candidate realisms fares, when compared with that image. (shrink)

This paper brings Merleau-Ponty’s phenomenological approach to Sasha Waltz’s dance film S, which focuses on the relation between sexuality and language. Maintaining that movement in cinema takes place in the viewers and not the film, the paper considers how the visual can be deepened to include the ways we move and are moved. Saussure’s insights into language are brought to the sensible, which is here understood in terms of divergences from norms. Though film would seem to privilege (...) vision, viewing this film helps to elucidate Merleau-Ponty’s claim that a film succeeds when it engages the viewer’s embodied understanding, and shifts the norms of the corporeal schema. (shrink)

What is realism in film? Focusing on a test case of HFR high-definition movies, I discuss in this article various types of realism as well as their interrelations. Precision, recessiveness of the medium, transparency, and 'Collapse' are discussed and compared. At the end of the day, I defend the claim that 'less is more' in the sense that more image precision can actually have a negative impact on storytelling.

Can some films be genuine thought experiments that challenge our commonsense intuitions? Certain filmic narratives and their mise-en-scène details reveal rigorous reasoning and counterintuitive outcomes on philosophical issues, such as skepticism or personal identity. But this philosophical façade may hide a mundane concern for entertainment. Unfamiliar narratives drive spectator entertainment, and every novel cinematic situation could be easily explained as part of a process that lacks motives of philosophical elucidation. -/- The paper inverses the above objection, and proposes that when (...) the main cinematic character resists spectator engagement (a crucial source of cinematic entertainment), emotionally challenged spectators also question their commonsensical beliefs about his/her actions, and detect a conceptually novel situation as such. -/- A case study is Mike Leigh’s film Happy-Go-Lucky (2008), in which the main female character presents an unrelenting but eccentric version of 'feel good' happiness. Spectators gradually detect that the previously unexamined, commonsensical version of subjective happiness comes at the price of individual eccentricity, and that the choice of a subjective theory of happiness leads to consequences hitherto unacknowledged. (shrink)

This paper interprets von Trier’s Dogville as a suspension of belief that provokes a re-evaluation of contemporary moral values. Reading Dogville through the Stoic concept of phantasms and Nietzsche’s perspectivism, I analyze the plot and visual techniques as revealing how we form, evaluate, and re-evaluate our beliefs based on changing impressions and shifting perspectives. The philosophy of the Stoics and Nietzsche and the visual techniques of Dogville demonstrate that the recognition of the artificiality of appearances serves a moral purpose by (...) forcing us to examine our beliefs more deeply. In this way, von Trier presents film as a powerful art form for suspending and evaluating how we see and understand the world. (shrink)

Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting (...) the monster but one might also say that one imagined Ripley fighting the monster. Are these two reports compatible? If they are, how can we combine them so to make sense of them? If, instead, they are not, which of them should we give up? (shrink)

Worried by the drastic decline in the quality of content of Nigerian movies as evaluated by critics, this paper analyzes the evaluation of Nigerian movies by the African Movie Academy Awards (AMAA) between 2006 and 2016. The objective is to review the decisions of the AMAA jury and to present the academy’s position on the prospects and deficiencies of the Nigerian Movie industry. The paper employs analytical research approach using both primary and secondary sources to explore assessed contents of the (...) Nollywood movies and how far the industry has fared in the mirror of a renowned African movie assessor like AMAA. This paper assembles data of the awards of AMAA since inception and graphically presents the data. Findings reveal a sharp drop in quality of content of Nigerian movies over the years with a hope of an upsurge as adjudged by AMAA since 2006. The study recommends the private sector’s all round support to Nollywood and the federal government’s training or retraining of filmmakers as well as sustained funding for the steady development of the Nigerian movie industry. (shrink)

A brief review of Øystein Linnebo's Thin Objects. The review ends with a brief discussion of cardinal number and metaphysical ground.

In this essay, I review an extraordinary bio flick, Temple Grandin. Temple Grandin is a professor of animal science, and to achieve her distinguished career she had to deal with her autism. The film explores what it is to suffer this disease, but it also explores her extraordinary work involving making slaughterhouses more humane.

The objective of this paper is to authenticate the perception of distortions in the communication of Tiv folklores in movies produced in Benue State. The paper assumes that film has the capacity to communicate societal beliefs but certain distortions can challenge the effective communication of such cultural values. The paper adopts a qualitative method using oral interviews to elicit information from ten participants including five (5) movie producers in the Benue movie industry. Folklore and mythically based movies produced in (...) Tiv are also identified and analyzed based on the opinions of various. This paper concludes that a significant number of folklore-based movies produced in the Benue movie industry are distorted versions of Tiv folklores by most movie producers who do not undertake adequate research from reliable sources and who garnish the folklore stories to make the movies more entertaining and attractive. As tools of cultural preservation and communication in the society, this paper recommends that indigenous film producers should undertake adequate research from reliable primary and secondary sources before scripting and production and should communicate folklores for the purpose of information and education of the young Tiv generation instead of the purpose of entertainment. (shrink)

This essay is my review of Bob Bowden’s excellent documentary The Cartel. It is a powerful indictment of public schools and public school teachers’ unions. In a crucial part of the film, we see minority parents at a charter school lottery. Charter schools, like voucher private schools, give parents school choice—although charter schools are public schools technically, but run fairly independently. They are so popular, and the school districts allow so few of them, that parents must apply by lottery (...) for the few slots. The looks of grief on the faces of the parents who lose the lottery—and hence must keep their children in failing public schools—is telling. It is ironic that the nation most admired by American progressives—Sweden—completely voucharized its entire K-12 school system thirty years ago. (shrink)

This essay is my review of Bjorn Lomborg’s delightful documentary film Cool It. Lomborg believes that there is indeed anthropogenic global warming, but that it doesn’t constitute the grave and imminent threat to humanity that people such as Al Gore think it does. The focus of the documentary is the refutation of Al Gore’s award-winning film (An Inconvenient Truth). But Lomborg also puts the focus on how best to use scarce resources to help humanity.

In this essay, I review the movie Good. Good tells the story of the moral corruption of its protagonist, a writer, who is seduced by blandishments and material rewards given to him by the Nazi regime. It is a nice illustration of corruption—the degradation of character wrought by the desire for wealth and fame—what Aristotle would call “pleonexia.”.