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'A collection of articles on individual films both interesting in itself, and fascinating as a sign of the fruitful and widespread impact on thinking about movies that Stanley Cavell's work is beginning to have. To top it off, there is a conversation with Cavell (conducted by Andrew Klevan) that is, by itself, worth the price of admission.' - Professor Stanley Bates, Department of Philosophy, Middlebury College, USA
'...a fine collection of writings by a new generation of philosophers interested in looking anew at film as philosophical practice. Rather than merely using cinema to illustrate classic philosophical positions, each endeavours to see film as a potential source of philosophical insight. In this respect it represents a wholly new view of the relationship between image and thought.' - Dr John Mullarkey, Department of Philosophy, University of Dundee, UK
'Building on the work of Wittgenstein and Cavell, this anthology draws our attention to ways in which film can be understood as philosophical texts and movie-goers can engage in philosophical investigation. In an assessable format, each author expertly guides us through issues related to memory, identity, reality and appearance, myth, the nature of self, free moral choice, Otherness, and conditions for personhood. In these pages are puzzle-games, jokes and riddles, feminist nightmares, and food for thought surrounding male violence, cannibalism, and myriad narratives about voice, voicelessness, dislocated voices, and the concept of order. We are drawn into discussions about camera angles, color, light and dark, voiceovers, pacing, and music.
The topics raised in these pages are so compelling they call for course development. Philosophical ideas are extended as they are placed in context of the relatively new medium of film. As we learn from these authors, by learning to 'read' films, the potential exists to expand the focus of philosophical engagement from university classrooms to the more public space of the movie theatre. As David Ruben claims, films 'tempt us toward philosophical insight'. Film as philosophy is an idea, and a book, that can be easily embraced.' - Professor Kristin Congdon, Department of Art and Department of Philosophy, University of Central Florida, USA
'...a fine collection of writings by a new generation of philosophers interested in looking anew at film as philosophical practice. Rather than merely using cinema to illustrate classic philosophical positions, each endeavours to see film as a potential source of philosophical insight. In this respect it represents a wholly new view of the relationship between image and thought.' - Dr John Mullarkey, Department of Philosophy, University of Dundee, UK
'Building on the work of Wittgenstein and Cavell, this anthology draws our attention to ways in which film can be understood as philosophical texts and movie-goers can engage in philosophical investigation. In an assessable format, each author expertly guides us through issues related to memory, identity, reality and appearance, myth, the nature of self, free moral choice, Otherness, and conditions for personhood. In these pages are puzzle-games, jokes and riddles, feminist nightmares, and food for thought surrounding male violence, cannibalism, and myriad narratives about voice, voicelessness, dislocated voices, and the concept of order. We are drawn into discussions about camera angles, color, light and dark, voiceovers, pacing, and music.
The topics raised in these pages are so compelling they call for course development. Philosophical ideas are extended as they are placed in context of the relatively new medium of film. As we learn from these authors, by learning to 'read' films, the potential exists to expand the focus of philosophical engagement from university classrooms to the more public space of the movie theatre. As David Ruben claims, films 'tempt us toward philosophical insight'. Film as philosophy is an idea, and a book, that can be easily embraced.' - Professor Kristin Congdon, Department of Art and Department of Philosophy, University of Central Florida, USA
Product Description
Why should philosophers be interested in cinema? Or film studies in philosophy? In this lively and thought-provoking book, philosophers and film experts come together to write about a wide range of films: classic Hollywood comedies, war films, Eastern European art films, crime, science fiction, etc. What unites them is a belief that watching film can not only illuminate philosophy, provide examples, illustrate philosophical problems, and so on, but can in an important sense be doing philosophy as well. In turn thinking philosophically can bring to light new aspects of film. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, who discusses his interests in philosophy, how he came to be fascinated by the cinema, and how through his work and publications these two areas have been brought together.
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Most Helpful Customer Reviews
4 of 4 people found the following review helpful
Format:Paperback
This collection builds on seminal work on film by the Harvard philosopher Stanley Cavell, whose works include, "The Claim of Reason: Wittgenstein, Skepticism, Morality, and Tragedy" & "The World Viewed: Reflections on the Ontology of Film". Cavell's work, in turn, is deeply influenced by the Philosophy of Ludwig Wittgenstein (see the collection "The New Wittgenstein").
The approach to film explored in this collection is one that eschews the application of theory to film. Film studies has generally approached film through theory: psychoanalytic, Marxist, Feminist, cognitive etc. This serves to render the film under discussion. This collection also eschews the approach evident in recent books on the philosophy of film or those that use films to illustrate philosophy (e.g. Rowlands' "The Philosopher at the End of the Universe"). While the books in the latter category have their place, they merely use film as a resource for the dramatisation of philosophical problems. In contrast the essays in the collection under review here read the films under discussion as doing philosophy, exploring philosophical themes, actively thinking through philosophical problems. The collection contains a fascinating interview with Stanley Cavell. Stephen Mulhall revisits his own earlier writings on the Alien films, first discussed in "On Film". Phil Hutchinson and Rupert Read bring to life the philosophical work undertaken by Christopher Nolan's film "Memento", seeing it as a therapeutic dialogue in the manner of Wittgenstein's "Philosophical Investigations". The book also contains chapters on Fincher's "Fight Club" and Terence Malick's "The Thin Red Line" (Malick was a student of Cavell's at Harvard; the lead character in the film is named Witt...). Contributors include Simon Glendinning, author of "On Being in the World: Wittgenstein-Heidegger-Derrida"; Simon Critchley; and Andrew Klevan.
A groundbreaking and enjoyable collection.
The approach to film explored in this collection is one that eschews the application of theory to film. Film studies has generally approached film through theory: psychoanalytic, Marxist, Feminist, cognitive etc. This serves to render the film under discussion. This collection also eschews the approach evident in recent books on the philosophy of film or those that use films to illustrate philosophy (e.g. Rowlands' "The Philosopher at the End of the Universe"). While the books in the latter category have their place, they merely use film as a resource for the dramatisation of philosophical problems. In contrast the essays in the collection under review here read the films under discussion as doing philosophy, exploring philosophical themes, actively thinking through philosophical problems. The collection contains a fascinating interview with Stanley Cavell. Stephen Mulhall revisits his own earlier writings on the Alien films, first discussed in "On Film". Phil Hutchinson and Rupert Read bring to life the philosophical work undertaken by Christopher Nolan's film "Memento", seeing it as a therapeutic dialogue in the manner of Wittgenstein's "Philosophical Investigations". The book also contains chapters on Fincher's "Fight Club" and Terence Malick's "The Thin Red Line" (Malick was a student of Cavell's at Harvard; the lead character in the film is named Witt...). Contributors include Simon Glendinning, author of "On Being in the World: Wittgenstein-Heidegger-Derrida"; Simon Critchley; and Andrew Klevan.
A groundbreaking and enjoyable collection.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
1 review
11 of 11 people found the following review helpful
Excellent collection. If you read one book on film, read this.
25 April 2007
Format:Paperback
This collection builds on seminal work on Film by the philosopher Stanley Cavell, whose works include, The Claim of Reason & The World Viewed: Reflections on the Ontology of Film. Cavell's work, in turn, is deeply influenced by the Philosophy of Ludwig Wittgenstein (see the collection The New Wittgenstein).
The approach to film explored in this collection is one that eschews the application of theory to film. Film studies has generally approached film through theory: psychoanalytic, Marxist, Feminist, cognitive etc. This serves to render the film under discussion. This collection also eschews the approach evident in recent books on the philosophy of film or those that use films to illustrate philosophy (e.g. Rowlands' The Philosopher at the End of the Universe). While the books in the latter category have their place, they merely use film as a resource for the dramatisation of philosophical problems. In contrast the essays in the collection under review here read the films they discuss as doing philosophy, exploring philosophical themes, actively thinking through philosophical problems. The collection contains a fascinating interview with Stanley Cavell. Stephen Mulhall revisits his own earlier writings on the Alien films, first discussed in On Film. Phil Hutchinson and Rupert Read bring to life the philosophical work undertaken by Christopher Nolan's film Memento, seeing it as a therapeutic dialogue in the manner of Wittgenstein's Philosophical Investigations. The book also contains chapters on Fight Club and Terence Malick's The Thin Red Line (Malick was a student of Cavell's at Harvard; the lead character in the film is named Witt...). Contributors include Simon Glendinning, author of The Idea of Continental Philosophy; Simon Critchley; and Andrew Klevan.
A groundbreaking and enjoyable collection.
The approach to film explored in this collection is one that eschews the application of theory to film. Film studies has generally approached film through theory: psychoanalytic, Marxist, Feminist, cognitive etc. This serves to render the film under discussion. This collection also eschews the approach evident in recent books on the philosophy of film or those that use films to illustrate philosophy (e.g. Rowlands' The Philosopher at the End of the Universe). While the books in the latter category have their place, they merely use film as a resource for the dramatisation of philosophical problems. In contrast the essays in the collection under review here read the films they discuss as doing philosophy, exploring philosophical themes, actively thinking through philosophical problems. The collection contains a fascinating interview with Stanley Cavell. Stephen Mulhall revisits his own earlier writings on the Alien films, first discussed in On Film. Phil Hutchinson and Rupert Read bring to life the philosophical work undertaken by Christopher Nolan's film Memento, seeing it as a therapeutic dialogue in the manner of Wittgenstein's Philosophical Investigations. The book also contains chapters on Fight Club and Terence Malick's The Thin Red Line (Malick was a student of Cavell's at Harvard; the lead character in the film is named Witt...). Contributors include Simon Glendinning, author of The Idea of Continental Philosophy; Simon Critchley; and Andrew Klevan.
A groundbreaking and enjoyable collection.
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