Examines the overlap among movie and philosophy in 3 unique methods: epistemological concerns in film-making and viewing; aesthetic thought and picture; and picture as a medium of philosophical expression.
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Hence we aren't (as Kant and Hume thought)…forever the prisoners of our minds. we will be able to discover ways to criticize ourselves, and to be able to go beyond ourselves. (Popper 1983, p. 154) vi CONTENTS Preface ix Acknowledgments xv creation: at the Very inspiration of a Philosophy of the movie: Casablanca 1 1 Philosophy of the movie 2 movie as Philosophy five three Casablanca as Philosophy 15 four end 26 half One video clips as a Philosophical challenge 29 1 wisdom and life 31 2 Plato and the Cave forty four three The Golden Mountain, USD A Approval and Realism fifty six four motion pictures and educational Philosophy sixty six four. 1 Munsterberg sixty nine four. 2 Cavell ninety five four. three Phenomenology, Linden, Weiss 121 half videos as a cultured challenge 139 five paintings and technological know-how 141 6 Aesthetics and Essentialism a hundred and fifty 7 Arguments opposed to movies as artwork 164 vii 7. 1 Newness 7. eleven below 100 years outdated 164 7. 12 loss of Settled Canons 168 7. thirteen video clips haven't any confirmed standards of benefit 178 7. 14 Shallow Traditions of serious dialogue 188 7. 2 the character of the Medium 192 7. 21 Mechanical copy 192 7. 22 number of kinds and makes use of 197 7. 23 Collective Authorship 199 7. 24 How on the topic of the Older Arts 205 7. three Mass artwork 211 eight movies as artwork 220 half 3 Philosophical difficulties on movie 247 nine Philosophy 249 10 well known Philosophy 253 eleven On Interpretation 259 12 Citizen Kane and the Essence of anyone 267 thirteen Rashomon: Is fact Relative? 295 14 personality: the individual as a masks 308 15 Woody Allen and the hunt for ethical Integrity 330 15. 1 Annie corridor 335 15. 2 Interiors 339 15. three long island 343 end 351 Notes 353 Bibliography 364 Index of topics 376 Index of Names 386 viii PREFACE on the 1951 Venice movie pageant the Grand Prize—the Golden Lion—went to a jap movie made the prior 12 months, known as Rashomon. Early in 1952 a similar movie received an Academy Award Oscar as top overseas movie. Rashomon tells a narrative of banditry, rape and violent dying; but these issues aren't what it is ‘about’; relatively, a regular textbook tells scholars that Rashomon is a movie in regards to the relativity of fact within which 4 conflicting models of the comparable occasion are provided by means of 4 both credible (or both magnificent) narrators…. Kurosawa turns out to signify that truth or fact doesn't exist independently of human awareness, id, and notion. (Cook 1981, pp. 5578) therefore on the midcentury movies had creative prestige. they can maintain an annual overseas pageant at Venice; the pageant used to be aggressive, implying that criteria have been on hand in which to make comparative judgments of caliber; and the prize successful movie used to be ‘about’ philosophical issues of fact or fact: nice artistic endeavors revolve round the that means of existence, the stipulations of the conditio humana, the cost of an life helpful of a person. They ask questions on the validity of values that may serve to differentiate the nice from the undesirable, the higher from the worse.