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Review
""On Film presents an always engaging, often provocative, and frequently brilliant philosophical investigation of the 'Alien' quartet of science-fiction/action/horror films...the book achieves the rare distinction of having something interesting and important to say to philosophers, fans and cinema studies scholars simultaneously."
-"American Society of Aesthetics Newsletter
"A new and noteworthy addition to Routledge's high-profile "Thinking in Action" series, Stephen Mulhall's "On Film presents an always engaging, often provocative, and frequently brilliant philosophical investigation of the 'Alien' quartet of science-fiction/action/horror films initiated in 1979 with Ridley Scott's eponymous classic...the book achieves the rare distinction of haiving something interesting and important to say to philosophers, fans, and cinema studies scholars simultaneously."
-"Film and Philosophy
"This is clearly an important series. I look forward to reading future volumes."
-Frank Kermode
"As a study showing how this particular film quartet thematizes deep metaphysical and existential eissues the book succeeds in an admirable manner, and makes for a thought-provoking read. It is clear, accessible and engaging, and thus certainly fulfills the aims of the series it appears in."
-Simo Saatela, Uppsala University, "Philosophy in Review
Product Description
Few movies of recent times have caught and shocked our imagination as the Alien cinematic quartet and the quest of Sigourney Weaver's Flight Lieutenant Ellen Ripley. But what deeper issues about the nature of film and philosophy does the Alien story raise? On Film shows in beautifully clear style how these films are themselves examples of philosophy in action. By bringing a philosopher's eye to film Stephen Mulhall reflects on what these films tell us about relation of human identity to the body, explores the nature of sequeldom and how the Alien narrative renews itself over time and asks what logic, if any, underlies the apparently Darwinian universe the alien beings inhabit. He also discusses the significance of different directors and questions how that director is the film's "author". Throughout he asks what the timely question of what it means to read a film on its own terms, before we excitedly read theories into it.
""On Film presents an always engaging, often provocative, and frequently brilliant philosophical investigation of the 'Alien' quartet of science-fiction/action/horror films...the book achieves the rare distinction of having something interesting and important to say to philosophers, fans and cinema studies scholars simultaneously."
-"American Society of Aesthetics Newsletter
"A new and noteworthy addition to Routledge's high-profile "Thinking in Action" series, Stephen Mulhall's "On Film presents an always engaging, often provocative, and frequently brilliant philosophical investigation of the 'Alien' quartet of science-fiction/action/horror films initiated in 1979 with Ridley Scott's eponymous classic...the book achieves the rare distinction of haiving something interesting and important to say to philosophers, fans, and cinema studies scholars simultaneously."
-"Film and Philosophy
"This is clearly an important series. I look forward to reading future volumes."
-Frank Kermode
"As a study showing how this particular film quartet thematizes deep metaphysical and existential eissues the book succeeds in an admirable manner, and makes for a thought-provoking read. It is clear, accessible and engaging, and thus certainly fulfills the aims of the series it appears in."
-Simo Saatela, Uppsala University, "Philosophy in Review
Product Description
Few movies of recent times have caught and shocked our imagination as the Alien cinematic quartet and the quest of Sigourney Weaver's Flight Lieutenant Ellen Ripley. But what deeper issues about the nature of film and philosophy does the Alien story raise? On Film shows in beautifully clear style how these films are themselves examples of philosophy in action. By bringing a philosopher's eye to film Stephen Mulhall reflects on what these films tell us about relation of human identity to the body, explores the nature of sequeldom and how the Alien narrative renews itself over time and asks what logic, if any, underlies the apparently Darwinian universe the alien beings inhabit. He also discusses the significance of different directors and questions how that director is the film's "author". Throughout he asks what the timely question of what it means to read a film on its own terms, before we excitedly read theories into it.
Inside This Book
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First Sentence
Above the sparse opening credits, as the camera pans slowly from the outer rim of a planet's Saturnian rings across the pitch black of its surface and back out to the opposite rim of those rings, the litle of this film is indicated in a slowly emerging sequence of vertical strokes. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index
Above the sparse opening credits, as the camera pans slowly from the outer rim of a planet's Saturnian rings across the pitch black of its surface and back out to the opposite rim of those rings, the litle of this film is indicated in a slowly emerging sequence of vertical strokes. Read the first page
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Concordance
Browse Sample PagesConcordance
Front Cover | Copyright | Table of Contents | Excerpt | Index
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