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Richard Eldridge

This review essay’s title is partly in homage to Arthur Danto’s well-known essay “Philosophy As/And/Of Literature” (Danto 1984). But this title also helps to organize my comments, both appreciative and critical, and it does so by pointing toward a range of issues about philosophy and film that is similar to a range of issues that have been raised about philosophy and literature. Specifically, I would have liked more attention to philosophy and film. But I am quite ready to admit that my own sensibility here may be extremely idiosyncratic and may present nothing that Thomas Wartenberg needs to or even does disagree with. This suggestion about philosophy and film comes at the end of the essay.

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Cynthia Freeland

The following three talks were originally delivered as part of the “Author Meets Critic” session on Thomas E. Wartenberg’s Thinking on Screen: Film as Philosophy (2007)* at the American Philosophical Association Central Division Meeting in Chicago. The session was sponsored by the Society for the Philosophical Study of the Contemporary Visual Arts on 17 April 2008.

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Roy M. Anker

Book Review of Paisley Livingston, Cinema, Philosophy, Bergman: On Film as Philosophy

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Thomas Wartenberg

I would like to begin my “response” to my “critics” by acknowledging my sense that they are less critics than fellow travelers in a joint project of understanding the philosophical significance of film. Each of them has provided me with help and support over the years. My own attempt to think philosophically about film was aided substantially by my discovery that Cynthia Freeland was also engaged in the same line of inquiry, and this, in turn, resulted in our collaborating on the first anthology about film written exclusively by philosophers, Philosophy and Film, published in 1995. Richard Eldridge and I have also maintained an ongoing if somewhat episodic discussion over the years about my understanding of film and the significance of Stanley Cavell’s account of the cinema, a conversation that has helped me refine my own thinking even as the conversation challenged it. So I would like to begin, then, by thanking rather than responding to these two friends and colleagues.

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Paisley Livingston

Ted Nannicelli, A Philosophy of the Screenplay

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Angela Curran

Book Review of Berys Gaut, A Philosophy of Cinematic Art

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Jason Wesley Alvis

Thomas Deane Tucker and Stuart Kendall, eds., Terrence Malick: Film and Philosophy

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Katherine Thomson-Jones

applied to humanistic film theory. Smith is ideally placed to provide such a defense, since he has an insider’s knowledge and understanding of both the world of film theory and the world of philosophy. Because I am a philosopher, and a philosophical

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Dan Flory

Philosophy of Horror, Or Paradoxes of the Heart . New York and London : Routledge . Carroll , Noël . 2014 . “ Moral Change: Fiction, Film, and Family .” Pp. 43 – 56 in Cine-Ethics: Ethical Dimensions of Film Theory, Practice, and Spectatorship , ed

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David Davies

questions about the nature of our actual responses and normative questions about “merited” responses, Davies stresses the centrality of the latter in the philosophy of art and queries the ability of empirical research to address them. Things rather work in