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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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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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Post-Carroll

Functional Elements of the Moving Image

Philip Cowan

talking about the use of sound, performance, or editing although these are of course valuable areas to study. Thomas Wartenberg highlights the fact that “moving image” is Carroll's preferred terminology for “film,” “because he rejects the claim that film

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Melenia Arouh

. 1995 . “ 2001: Modern Art, and Modern Philosophy .” In Philosophy and Film , ed. Cynthia A. Freeland and Thomas Wartenberg , 183 – 200 . London : Routledge . Davies , David . 2009 . “ Medium in Art .” In The Oxford Handbook of

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Mirror Neurons and Film Studies

A Cautionary Tale from a Serious Pessimist

Malcolm Turvey

. I also thank the participants in the Philosophy and Film Symposium at Tufts University in November 2019, particularly Avner Baz, Alessandra Campana, Mario De Caro, David Davies, Laura Di Summa Knoop, and Thomas Wartenberg, for their responses to a