By Michael P. Levine, Damian Cox
An advent to philosophy via movie, Thinking via movie: Doing Philosophy, looking at Movies combines the exploration of basic philosophical concerns with the event of viewing motion pictures, and gives a fascinating interpreting adventure for undergraduate scholars, philosophy fans and movie buffs alike.
• An in-depth but available advent to the philosophical issues raised through movies, movie spectatorship and film-making
• offers 12 self-contained, shut discussions of person motion pictures from throughout genres
• motion pictures mentioned contain overall remember, Minority document, l. a. Promesse, humorous video games, Ikuru, The darkish Knight, souvenir, AI and more
• Explores suggestions that span epistemology, metaphysics, destiny, selection, robotic love, time commute, own id, spectacle, ethics, success, remorse, consequentialism, deontology and the philosophy of movie itself
• A uniquely versatile source for classes in philosophy and movie that encourages pupil mirrored image, in addition to being an interesting learn for the movie fanatic
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Extra info for Thinking Through Film: Doing Philosophy, Watching Movies
The mainstream ﬁlm is constructed so as to imply a male spectator . . his look locking with that of the male protagonist, with whom he identiﬁes. Should the protagonist come to possess the woman, his triumph is vicariously enjoyed by the viewer. But the woman, impotent as object of the male gaze, still has a capacity to unsettle it; for as woman she evokes castration anxiety, causing male unpleasure. The threat must be mastered. And mastered it is, either by voyeuristic investigation of the female body and sadistic punishment for its bodily challenge, or by fetishistic scopophilia, converting her body or a bodily part into a fetish for the missing phallus .
Thus, emotion is not necessarily linked to real events and we do not need ﬁction to tell us this. In Rorty’s (1980) terms, if anomalous and seemingly irrational emotions are to be accounted for, as in situations in which emotions occur seemingly independent of beliefs that would rationalize and perhaps explain them, then the immediate cause (or trigger) of an emotion needs to be distinguished from the signiﬁcant cause of the emotion. 4 Note too that this suggests that one does not have to suppose any intrinsic connection between a realist conception of cinematic representation and ﬁlm’s emotional effect on spectators.
It has been discussed, for example, in terms of how the architecture we see in the ﬁlm, the cityscape, plays a philosophically signiﬁcant role. The idea that some ﬁlms should be interpreted in a variety of ways – pluralistically if you like – and on their own terms, sits well with the contention in chapter 1 that much philosophical inquiry is generated by a sustained and focused engagement with life as lived. Good ﬁlms should be capable at times of generating new insights, new interest and excitement, along with various and even disparate philosophical approaches to their content.