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Journal articles on the topic 'Philosophy and film'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Schuff, Jochen. "Wittgenstein verabscheut »Wittgenstein« und schaut sich »Annie Get Your Gun« an." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 55, no. 1 (2010): 91–107. http://dx.doi.org/10.28937/1000106168.

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Philosophie und Film stehen in einem spannungsvollen Verhältnis. Ziel des Artikels ist, diese Spannungen offen zu legen und ihnen auf den Grund zu gehen. Der Philosoph und Filmzuschauer Wittgenstein dient dabei als leitmotivische Figur der Diskussion. In den Linien, die von diesem Motiv ausgehen, zeigt sich die philosophische Unverfügbarkeit des Films. Um zu verstehen, was wir mit Film meinen und tun, ist eine spezifisch ästhetische Herangehensweise unabdingbar. Das bedeutet insbesondere, Film innerhalb der Praxis der Kunst zu verstehen. Ansätze zu einer solchen Sicht präsentiert der Autor abschließend in kurzen begrifflichen Reflexionen zum Film.<br><br>The relation between film and philosophy is a relation marked by tensions. The article’s aim is to unfold these tensions and to fathom them out. The figure of Wittgenstein as a philosopher and film spectator serves as a leitmotif throughout the course of the argument. Following the lines based in this motif, the philosophical unavailability of film becomes apparent. In order to understand what we mean by film and do with films, a specific aesthetic perspective is essential. This means, in particular, that film is to be understood within the practice of art. Eventually the author presents approaches to such a view in short conceptual reflections.

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2

Wittusen, Cato. "Romantic Film-Philosophy and the Notion of Philosophical Film Criticism." Film-Philosophy 20, no. 2-3 (October 2016): 198–218. http://dx.doi.org/10.3366/film.2016.0011.

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A common critique directed at many philosophical readings of films is that they fall short of paying careful attention to film aesthetics. The film-philosopher Robert Sinnerbrink, who defends what he has dubbed ‘romantic film-philosophy’, is a notable exception on this score. Taking his cues from Stanley Cavell's writings on film, Sinnerbrink has developed and argued for a notion of philosophical criticism that takes aesthetic qualities of film into consideration. This paper attempts to relate Sinnerbrink's notion of philosophical criticism to recent conversations about the differences between academic writing on film and film criticism. I argue that some aspects of Sinnerbrink's approach make it natural to compare it with traditional film criticism. There are also elements of his approach that are comparable to the use of films to support and develop theoretical perspectives in some academic writings. Next, I consider whether Sinnerbrink succeeds in challenging the traditional hierarchy of philosophy over film and art. I argue that interpreting film with attention to how it contributes philosophically, as he recommends, doesn't entirely escape the philosophical disenfranchisement of film. In the final part of the paper, I argue that if we want to re-enfranchise film (and art in general), we should pay more attention to what film and other art forms offer us that we do not find in philosophy. In my discussion, I make use of André Bazin's notion of film criticism and Simone de Beauvoir's view on the metaphysical novel.

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3

Sorfa, David. "What is Film-Philosophy?" Film-Philosophy 20, no. 1 (February 2016): 1–5. http://dx.doi.org/10.3366/film.2016.0001.

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4

Marks, Laura U. "Real Images Flow: Mullā Sadrā Meets Film-Philosophy." Film-Philosophy 20, no. 1 (February 2016): 24–46. http://dx.doi.org/10.3366/film.2016.0003.

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The eastern Islamic concept of the imaginal realm, which explains how supra-sensory realities present themselves to imaginative perception, can enrich the imagination of film-philosophy. The imaginal realm, in Arabic ‘alam al-mithal, world of images, or ‘alam al-khayal, imaginative world, is part of a triadic ontology of sensible, imaginal, and intelligible realms. Diverging from roots shared with Western thought in the concept of the imaginative faculty, the Islamic imaginal realm is supra-individual and more real than matter. The imaginal realm is a radically pro-image concept, affirming the importance of poetry, art, and images in motion. As developed by the Persian philosopher Sadr al-Dîn Muhammad al-Shîrâzî, known as Mullâ Sadrâ (1571–1640), the imaginal realm flows and intensifies, in a process philosophy we may fruitfully compare with Spinoza, Leibniz, and Whitehead. I sketch the genealogy of the imaginal realm and compare it to contemporary Western film-philosophy. I suggest how this transcendental concept can be made immanent. Finally, I draw from contemporary Muslim thinkers, such as Mohammed Arkoun, who ground a visionary collective politics in the imaginal realm. My central example, the documentary The Lebanese Rocket Society (2012) by Joana Hadjithomas and Khalil Joriege, exemplifies film's imaginal powers.

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5

Bolton, Lucy. "Introduction: Film-Philosophy and Stardom." Film-Philosophy 23, no. 2 (June 2019): 109–13. http://dx.doi.org/10.3366/film.2019.0104.

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6

Butler, Brian. "Dan Flory (2008) Philosophy, Black Film, Film Noir." Film-Philosophy 14, no. 1 (February 2010): 332–36. http://dx.doi.org/10.3366/film.2010.0016.

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7

Bolton, Lucy. "Christopher Falzon (2007) Philosophy Goes to the Movies: An Introduction to Philosophy." Film-Philosophy 11, no. 3 (October 2007): 132–37. http://dx.doi.org/10.3366/film.2007.0026.

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8

Constable, Catherine, Matt Denny, and Timotheus Vermeulen. "Introduction: The Surfaces of Film-Philosophy." Film-Philosophy 22, no. 2 (June 2018): 143–47. http://dx.doi.org/10.3366/film.2018.0069.

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9

Martin-Jones, David. "Trolls, Tigers and Transmodern Ecological Encounters: Enrique Dussel and a Cine-ethics for the Anthropocene." Film-Philosophy 20, no. 1 (February 2016): 63–103. http://dx.doi.org/10.3366/film.2016.0005.

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This article explores the usefulness of Latin American philosopher Enrique Dussel's work for film-philosophy, as the field increasingly engages with a world of cinemas. The piece concludes with an analysis of two films with an ecological focus, Trolljegeren/Troll Hunter (2010) and The Hunter (2011). They are indicative of a much broader emerging trend in ecocinema that explores the interaction between humanity and the environment in relation to world history, and which does so by staging encounters between people and those ‘nonhuman’ aspects of the Earth excluded by coloniality/modernity (e.g. animals, animal-spirits, mythological creatures, shaman, the very Earth itself). The interdisciplinary concerns of this work place it at the intersection of the latest research into a world of cinemas (in particular the various moves to understand films beyond the national paradigm now increasingly labelled the ‘transnational turn’; alongside growing concerns with how cinema helps us engage with ecology); and the need to broaden our philosophical grasp of the world. This latter point requires engagement with thinkers from beyond the Eurocentric canon of Western thought that currently dominates philosophy, and equally shapes film-philosophy. Dussel's philosophy is shown to provide a perspective capable of illuminating the intertwined nature of human and planetary history evident in these films, in a manner that is extremely pertinent to our global situation. Thus it is shown to be more useful than approaches to similar groupings of films which draw on, for example, speculative realism, when it comes to providing a cine-ethics appropriate to the Anthropocene.

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10

Carel, Havi, and Greg Tuck. "Film as philosophy." Philosophers' Magazine, no. 50 (2010): 30–31. http://dx.doi.org/10.5840/tpm20105042.

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11

Wartenberg, Thomas E. "Philosophy on film." Philosophers' Magazine, no. 71 (2015): 95–100. http://dx.doi.org/10.5840/tpm201571110.

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12

Jeffrey Hicks. "Philosophy over Film." Science Fiction Studies 42, no. 3 (2015): 599. http://dx.doi.org/10.5621/sciefictstud.42.3.0599.

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13

Luers, Will. "Film as Philosophy." Leonardo 51, no. 5 (October 2018): 533–34. http://dx.doi.org/10.1162/leon_r_01672.

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14

Krstić, Igor. "Documentary film philosophy." New Cinemas: Journal of Contemporary Film 15, no. 1 (March 1, 2017): 3–12. http://dx.doi.org/10.1386/ncin.15.1.3_2.

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15

Raalte, Christa van. "Bernd Herzogenrath (ed.) (2017) Film as Philosophy." Film-Philosophy 25, no. 1 (February 2021): 66–69. http://dx.doi.org/10.3366/film.2021.0158.

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16

Kardum, Marko. "Film kao filozofija: slučaj Wittgenstein." Filozofska istraživanja 40, no. 4 (December 28, 2020): 665–84. http://dx.doi.org/10.21464/fi40401.

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U radu se propituje odnos filma i filozofije, naročito u svjetlu Wittgensteinove filozofije i tvrdnje da (pokretna) slika predočuje svijet čak i bolje od jezika te da je u tom smislu posebno filozofski relevantna. Polazi se od čestog razlikovanja filma kao ilustracije filozofije, filma o filozofiji ili filozofima te filma kao filozofije. I dok se prva dva načina njihova odnošenja ne smatraju problematičnima, ali ni filozofski posebno relevantnima ili teorijski izazovnima, za treći se koncept pokazuje suprotno te mu se pristupa unutar Wittgensteinove filozofije. Naime, valja pokazati zašto je film kao pokretna slika za Wittgensteina uopće moguć kao filozofija, odnosno što točno omogućuje filmu da bude kao ta specifična ljudska aktivnost. Da bi se to pokazalo, analizira se Wittgensteinova filozofija s jasno naglašenom razlikom u njegovu ranom i kasnom filozofskom radu. No dva njegova djela, koja paradigmatski stoje iza dviju faza, pokazuju i određeni kontinuitet u razmatranju slika. Prije svega, tiče se to ideje o mogućnosti da upravo slika, a onda ekstenzijom i film kao nizanje slika, najbolje predočava svijet, odnosno da za njega stoji kao dvodimenzionalni model. Budući da je moguće utvrditi kako za Wittgensteina slika ne ovisi o jezičnoj interpretaciji, pokazuje se da je film kao filozofija moguć upravo, premda ne i isključivo, iz kuta Wittgensteinova filozofskog rada koji sliku tretira kao samostalnog nositelja značenja, a što u konačnici rezultira i shvaćanjem Wittgensteinove filozofije kao izravno suprotstavljene filozofskoj tradiciji Zapada. Stoga je jedno od tumačenja relevantnosti filma za filozofiju moguće utemeljiti upravo u Wittgensteinovu razumijevanju slike.

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17

Sinnerbrink, Robert Sixto. "Irving Singer (2008) Cinematic Mythmaking: Philosophy in Film." Film-Philosophy 14, no. 1 (February 2010): 377–86. http://dx.doi.org/10.3366/film.2010.0022.

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18

Martin-Jones, David. "Introduction: Film-Philosophy and a World of Cinemas." Film-Philosophy 20, no. 1 (February 2016): 6–23. http://dx.doi.org/10.3366/film.2016.0002.

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19

Steven, Mark. "Nietzsche on Film." Film-Philosophy 21, no. 1 (February 2017): 95–113. http://dx.doi.org/10.3366/film.2017.0033.

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This article tracks the many appearances of Friedrich Nietzsche throughout the history of cinema. It asks how cinema can do Nietzschean philosophy in ways that are unique to the medium. It also asks why the cinematic medium might be so pertinent to Nietzschean philosophy. Adhering to the implicit premise that, as Jacques Derrida once put it, ‘there is no totality to Nietzsche's text, not even a fragmentary or aphoristic one,’ the essay's mode of argument avoids reductive totalization and instead comprises a playful sampling of variously Nietzschean manifestations across dissimilar films. It begins with an extended account of Baby Face, a 1933 drama from which the abundant references to Nietzsche were either altered or expunged ahead of theatrical release. It then maps some of the philosophical consistencies across two genres in which characters read Nietzsche with apparent frequency: the comedy and the thriller. While comedies and thrillers both treat Nietzsche and his readers with suspicion, and do so for perceptive historical reasons, the essay then asks what an affirmatively Nietzschean film might look like. It explores this possibility through a discussion of cinematic animation in general and then more specifically via several critically familiar films that self-consciously evolve their aesthetic through Nietzsche's philosophy. The essay concludes by affirming Béla Tarr's final film as one of the medium's greatest realizations of a Nietzschean film-philosophy. The Turin Horse, released in 2011, is exemplary because it takes Nietzsche as a narrative premise only to sublate that premise into a unique visual style.

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20

Paić, Žarko. "Film kao mišljenje." Filozofska istraživanja 40, no. 3 (October 21, 2020): 499–514. http://dx.doi.org/10.21464/fi40304.

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U studijama o filmu pokazuje se prekretnim to što Deleuze sintetički povezuje rasklopljenu »bit« metafizike kao ontologije (bitak – bog – svijet – čovjek) s novim pristupom ne samo kretanju pojma, govoreći hegelovski, nego i mišljenju kao događaju. Isto još više vrijedi za razumijevanje onoga što traje u vremenu i stoga ima karakter misaone slike. Kako autor pokazuje u članku, Deleuze nju uspostavlja tako što mozak postaje ekran, a film iz sfere tzv. realiteta postaje virtualni kôd svijeta kao slike. Između koncepta i slike dokida se razlika kada slika više ne prethodi pojmu i kada pojam više ne prethodi slici. Koliko je ovaj obrat presudan za Deleuzeovo shvaćanje filma može se uočiti u izvedbi pojma događaja (événement). Slika i pojam odgovaraju singularnosti događaja. Problem s razumijevanjem Deleuzeove »ontologije slika« pokazuje da film ne možemo svesti na autonomnu proizvodnju kinematičkoga načina mišljenja ako prethodno ne razjasnimo što je to uopće pokret i kako nastaje slika. Film je u tom paradigmatskome slučaju ne samo »vizualni kôd« suvremene umjetnosti. Njegova se »bit« razotkriva u tome što omogućuje da slika-pokret i slika-vrijeme sintetički realiziraju mogućnosti tehnosfere kao: (1) računanja, (2) planiranja i (3) konstrukcije. Naposljetku, filmsko mišljenje koje Deleuze zagovara postaje pitanje o mogućnostima da film kao metafilm dosegne novu razinu filozofijskoga razmatranja onoga što postaje i nastaje novim sklopom odnosa između bitka i događaja.

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21

Knight, Deborah. "Philosophy of Film, or Philosophies of Film?" Film and Philosophy 8 (2004): 146–53. http://dx.doi.org/10.5840/filmphil2004814.

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22

Dufresne, Todd. "On Film, Theory, & "Film as Philosophy"." Film and Philosophy 15 (2011): 139–54. http://dx.doi.org/10.5840/filmphil20111511.

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23

Sparshott, Francis. "Philosophy of the Film." International Studies in Philosophy 22, no. 3 (1990): 120–21. http://dx.doi.org/10.5840/intstudphil199022341.

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24

Shaw, Dan. "Teaching Philosophy Through Film." Film and Philosophy 13 (2009): 151–56. http://dx.doi.org/10.5840/filmphil20091313.

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25

Freeland, Cynthia A., Richard Allen, and Murray Smith. "Film Theory and Philosophy." Philosophical Review 109, no. 1 (January 2000): 144. http://dx.doi.org/10.2307/2693575.

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26

Freeland, C. A. "FILM THEORY AND PHILOSOPHY." Philosophical Review 109, no. 1 (January 1, 2000): 144–47. http://dx.doi.org/10.1215/00318108-109-1-144.

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27

Wininger, Kathleen. "Introducing Philosophy Through Film." Teaching Philosophy 34, no. 3 (2011): 332–33. http://dx.doi.org/10.5840/teachphil201134345.

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28

Sankowski, Edward, Richard Allen, and Murray Smith. "Film Theory and Philosophy." Journal of Aesthetic Education 34, no. 2 (2000): 116. http://dx.doi.org/10.2307/3333583.

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29

Dedic, Nikola. "Film and skepticism Cavell’s „correction“ of poststructuralist philosophy of arts." Filozofija i drustvo 26, no. 1 (2015): 205–25. http://dx.doi.org/10.2298/fid1501205d.

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The main aim of this paper is the critique of poststructuralist theory of art, and particularly thesis about the avant-garde peace of art as a kind of transgression. As a starting point of this critique, the ordinary language philosophy developed by American philosopher Stanley Cavell is used, particularly his film theory. While poststructuralist philosophy was developed around the notion of ideology, Cavell interprets film and arts in general around the notion of skepticism. While poststructuralism, because of thesis about avant-garde as a kind of transgression within the field of ideology, is a kind of philosophy of negation, we point out that Cavell?s philosophy is a utopian theory of transcending of skepticism where avant-garde film has significant but not crucial place. Cavell?s thesis is used as a basis for re-thinking of modernism, which is in opposition to postmodernist turn realized by poststructuralism.

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30

Petkova, Savina. "Laura McMahon (2019) Animal Worlds: Film, Philosophy and Time." Film-Philosophy 25, no. 1 (February 2021): 79–82. http://dx.doi.org/10.3366/film.2021.0161.

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31

Tumanov, Vladimir. "Philosophy of Mind and Body in Andrei Tarkovsky's Solaris." Film-Philosophy 20, no. 2-3 (October 2016): 357–75. http://dx.doi.org/10.3366/film.2016.0020.

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Andrei Tarkovsky's film Solaris (1972) is studied through the lens of philosophy of mind. The question of memory and personhood, as developed by John Locke and then expanded by Derek Parfit, is applied to the status of Hari – the copy of the protagonist's deceased wife. The key question addressed by this paper is on what basis Hari can (or should?) be considered human. Hari's personhood is further analyzed in the context of Cartesian dualism, the response to Descartes by reductionism and the rebuttal of reductionism by the functionalist theories of Hilary Putnam. Descartes' thoughts on animal suffering and the bête-machine are pitted against Hari's experience in Solaris. The key question is whether Hari can be reduced to her alien structure or should be considered in terms of her behavior. The moral implications of these questions are extended to human sociality, human emotional response and the role of the body in the human condition.

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32

Quaranta, Chiara. "Nathan Andersen (2014) Shadow Philosophy: Plato's Cave and Cinema." Film-Philosophy 22, no. 2 (June 2018): 317–20. http://dx.doi.org/10.3366/film.2018.0082.

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33

Barrowman, Kyle. "Morals of Encounter in Steve Jobs." Film and Philosophy 24 (2020): 134–55. http://dx.doi.org/10.5840/filmphil2020249.

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In this article, the author argues for the probative value of ordinary language philosophy for the discipline of film studies by way of an analysis of the conversational protocols discernible in the film Steve Jobs (2015). In particular, the author focuses on the work of J.L. Austin, specifically his theory of speech acts and his formulation of the performative utterance, and Stanley Cavell, specifically his extension of Austinian speech act theory and his formulation of the passionate utterance, and analyzes the interactions between the titular character and his daughter through this unique Austinian/Cavellian lens. In so doing, the author endeavors to encourage more scholars in the field of film-philosophy to explore the key concepts and arguments in ordinary language philosophy for use in analyzing films. Despite its having been virtually ignored by film scholars over the last half century, one of many regrettable effects of the Continental bias of film scholars generally and film-philosophers specifically, the author contends that ordinary language philosophy provides powerful tools for the analysis of dialogue and communication in film, with Steve Jobs serving as a particularly insightful test case of the broad utility of ordinary language philosophy for film studies.

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34

Sinnerbrink, Robert. "Cavellian Meditations: How to do Things with Film and Philosophy." Film-Philosophy 18, no. 1 (December 2014): 50–69. http://dx.doi.org/10.3366/film.2014.0005.

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35

Mather, Philippe. "Jerold J. Abrams, ed. (2007) The Philosophy of Stanley Kubrick." Film-Philosophy 11, no. 3 (October 2007): 224–30. http://dx.doi.org/10.3366/film.2007.0037.

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36

Petříková, Linda. "Mark T. Conard, ed. (2007) The Philosophy of Martin Scorsese." Film-Philosophy 11, no. 3 (October 2007): 231–37. http://dx.doi.org/10.3366/film.2007.0038.

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37

Shaw, Daniel. "A Rejoinder to Noèl Carrol's The Philosophy of Motion Pictures." Film-Philosophy 12, no. 2 (October 2008): 142–51. http://dx.doi.org/10.3366/film.2008.0021.

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38

Pallant, Chris. "Mark T. Conrad, ed. (2009) The Philosophy of Neo-Noir." Film-Philosophy 14, no. 1 (February 2010): 496–500. http://dx.doi.org/10.3366/film.2010.0039.

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39

PATRIDGE, STEPHANIE. "Philosophy, Black Film, Film Noir by flory, dan." Journal of Aesthetics and Art Criticism 69, no. 2 (May 2011): 242–44. http://dx.doi.org/10.1111/j.1540-6245.2011.01465_6.x.

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40

Little, Ben. "Impractical Pragmatics: Richard A. Gilmore (2005) Doing Philosophy at the Movies." Film-Philosophy 10, no. 3 (October 2006): 122–28. http://dx.doi.org/10.3366/film.2006.0038.

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41

Nelson, Andrew Patrick. "Dean A. Kowalski, ed. (2007) The Philosophy of the X-Files." Film-Philosophy 14, no. 1 (February 2010): 326–31. http://dx.doi.org/10.3366/film.2010.0015.

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42

Hilst, Joshua Conrad. "John Mullarkey (2009) Refractions of Reality: Philosophy and the Moving Image." Film-Philosophy 14, no. 2 (October 2010): 153–60. http://dx.doi.org/10.3366/film.2010.0053.

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43

Worley, Taylor Benjamin. "Mark T. Conard, ed. (2009) The Philosophy of the Coen Brothers." Film-Philosophy 15, no. 1 (February 2011): 240–46. http://dx.doi.org/10.3366/film.2011.0015.

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44

Jones, Steve. "Cartesianism and Intersubjectivity in Paranormal Activity and the Philosophy of Mind." Film-Philosophy 21, no. 1 (February 2017): 1–19. http://dx.doi.org/10.3366/film.2017.0028.

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Over the last century within the philosophy of mind, the intersubjective model of self has gained traction as a viable alternative to the oft-criticised Cartesian solipsistic paradigm. These two models are presented as incompatible inasmuch as Cartesians perceive other minds as “a problem” for the self, while intersubjectivists insist that sociality is foundational to selfhood. This essay uses the Paranormal Activity series (2007–2015) to explore this philosophical debate. It is argued that these films simultaneously evoke Cartesian premises (via found-footage camerawork), and intersubjectivity (via an ongoing narrative structure that emphasises connections between the characters, and between each film). The philosophical debates illuminate premises on which the series’ story and horror depends. Moreover, Paranormal Activity also sheds light on the theoretical debate: the series brings those two paradigms together into a coherent whole, thereby suggesting that the two models are potentially compatible. By developing a combined model, scholars working in the philosophy of mind might better account for the different aspects of self-experience these paradigms focus on.

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45

Quinlivan, Davina. "Lucy Bolton (2019) Contemporary Cinema and the Philosophy of Iris Murdoch." Film-Philosophy 25, no. 2 (June 2021): 220–23. http://dx.doi.org/10.3366/film.2021.0172.

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46

Barnett, Daniel. "If a Film Did Philosophy We Wouldn't Understand It: Rupert Read and Jerry Goodenough, eds. (2005) Film as Philosophy: Essays on Cinema After Wittgenstein and Cavell." Film-Philosophy 11, no. 3 (October 2007): 138–46. http://dx.doi.org/10.3366/film.2007.0027.

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47

Huston, Mark. "The Conversation, Film, and Philosophy." Film and Philosophy 13 (2009): 77–86. http://dx.doi.org/10.5840/filmphil2009137.

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48

Nunan, Richard. "Film as Philosophy in Memento." Film and Philosophy 18 (2014): 1–18. http://dx.doi.org/10.5840/filmphil2014182.

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49

Nunan, Richard. "Philosophy Through Film, 2nd ed." Teaching Philosophy 34, no. 4 (2011): 432–35. http://dx.doi.org/10.5840/teachphil201134454.

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50

Covey, W. B. "The Philosophy of Film Noir." Genre 39, no. 2 (January 1, 2006): 352–57. http://dx.doi.org/10.1215/00166928-39-2-352.

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