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Carl Plantinga

Screen Stories: Emotion and the Ethics of Engagement (hereafter Screen Stories ) provides a framework for an ethics of long-form storytelling on screens. The book conceives of ethics as the “ecology of storytelling.” We likely all agree that the

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Carl Plantinga

I would like to thank Jane Stadler, Malcolm Turvey, and Cynthia Freeland for their careful readings of and responses to my book, Screen Stories: Emotion and the Ethics of Engagement . The three responses are revisions and extensions of their

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Jane Stadler

Carl Plantinga's Screen Stories: Emotion and the Ethics of Engagement (2018) comes alive with vivid examples that illuminate how emotional engagement with film and television informs ethical life as characterization, narration, and style

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Matthew C. Eshleman, David Lethbridge, J. C. Berendzen, and T Storm Heter

T Storm Heter, Sartre’s Ethics of Engagement Review by Matthew C. Eshleman

Jean-Paul Sartre, The Aftermath of War Review by David Lethbridge

David Sherman, Sartre and Adorno: The Dialectics of Subjectivity Review by J. C. Berendzen

Yiwei Zheng, Ontology and Ethics in Sartre’s Early Philosophy Review by T Storm Heter

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The problem with “transparency”

Moral contests and ethical possibilities in mining impact reporting

Sally Babidge

Subterranean waters in the mineral-rich and water-poor Atacama desert, northern Chile, are subject to contest between resource-extracting companies and mostly indigenous residents. In complying with global Corporate Social Responsibility standards and local agreements, and in an effort to reduce opposition from indigenous groups, some mining companies have begun to undertake “transparency” reporting regarding the impact of their subterranean water extraction activities. These engagements present a moral interface between two streams of global discourse: the CSR principle of “transparency” on impacts of water extraction and the rights of indigenous peoples to “native waters.” An ethnographic study of a set of such engagements shows indigenous community rejection of the truths that transparency purports to reveal. However, the apparent intractability of moral contest in such globally comparative and locally specific contexts in terms of distrust of the mining companies is tempered by a proposition for the ethics of engagement.

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Ted Nannicelli

of Engagement shifts gears to a more traditional humanities approach with contributions from a philosopher with extensive experience writing about film and from three film theorists who frequently engage with and draw upon philosophy in their own

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Ethical Engagement with Movies

Response to Carl Plantinga's Screen Stories

Cynthia Freeland

drive the wedge between passive and active audience responses to screen stories, and it is the reason that he gives for his own position: “An ethics of engagement puts more emphasis on narrative form in relation to spectator cognition and response and

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Cognitive Disability

Towards an Ethics of Possibility

Faye Ginsburg and Rayna Rapp

(2015) offers an important exemplar. Their ground-breaking research on ‘sex, disability, and the ethics of engagement’ is set in care facilities for adults with profound cognitive disabilities in Denmark and Sweden. The authors offer a powerful

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Malcolm Turvey

to his theory. His book is subtitled “Emotion and the Ethics of Engagement,” and he states on the first page of the introduction that it is about “the emotional power of screen stories that makes ethical criticism vital” (1). “Affect and emotion are

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“Mind the Gap”

Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film

Jane Stadler

Aesthetics of Film joins Carl Plantinga’s Screen Stories: Emotion and the Ethics of Engagement (2018) and Mark Johnson’s The Aesthetics of Meaning and Thought: The Bodily Roots of Philosophy, Science, Morality, and Art (2018) in the latest wave of