Conservatives claim that all phenomenal properties are sensory. Liberals countenance non-sensory phenomenal properties such as what it’s like to perceive some high-level property, and what it’s like to think that p. A hallmark of phenomenal properties is that they present an explanatory gap, so to resolve the dispute we should consider whether experience has non-sensory properties that appear ‘gappy’. The classic tests for ‘gappiness’ are the invertibility test and the zombifiability test. I suggest that these tests yield conflicting results: non-sensory (...) properties lend themselves to zombie scenarios but not to inversion scenarios. Which test should we trust? Against Carruthers & Veillet (2011), I argue that invertibility is not a viable condition of phenomenality. In contrast, being zombifiable is credibly necessary and sufficient for phenomenality. I conclude that there are non-sensory properties of experience that are ‘gappy’ in the right way, and that liberalism is therefore the most plausible position. (shrink)

This paper explores the idea that popular narrative film can somehow contribute to our philosophical understanding. I identify a number of problems with this 'film as philosophy' thesis and argue that the capacity of film to contribute to philosophy is not as great as many authors think. Specifically, I argue that film can only offer genuinely distinctive insights into philosophical questions *about film* and explore Hitchcock's Rear Window as an example of this.

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 (...) of this comic fantasy is summarised by the film’s protagonist, Craig Schwartz: "There's a tiny door in my office Maxine. It's a portal, and it takes you inside John Malkovich. You see the world through John Malkovich's eyes. And then, after about fifteen minutes, you're spit out into a ditch on the side of the New Jersey Turnpike." The philosophical issues that this scenario raises are manifold. My primary aim in this paper is to follow the film through its exploration of subjectivity, clarifying its insights with the aid of current philosophical work on the topic. Hopefully, this will enhance our understanding both of subjectivity, and of the philosophical relevance of the film. A secondary goal of this enquiry is to provide a clear example of film-as-philosophy, perhaps demonstrating how film contributes something to the philosophical forum that an academic text cannot. (shrink)