Film-PhilosophyPub Date : 2022-06-01DOI: 10.3366/film.2022.0201
Kristina Šekrst
{"title":"David Huckvale (2020) Terrors of the Flesh: The Philosophy of Body Horror in Film","authors":"Kristina Šekrst","doi":"10.3366/film.2022.0201","DOIUrl":"https://doi.org/10.3366/film.2022.0201","url":null,"abstract":"","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49014916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Film-PhilosophyPub Date : 2022-06-01DOI: 10.3366/film.2022.0198
Navid Darvishzadeh
{"title":"Lúcia Nagib (2020) Realist Cinema as World Cinema: Non-cinema, Intermedial Passages, Total Cinema","authors":"Navid Darvishzadeh","doi":"10.3366/film.2022.0198","DOIUrl":"https://doi.org/10.3366/film.2022.0198","url":null,"abstract":"","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49360305","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Film-PhilosophyPub Date : 2022-06-01DOI: 10.3366/film.2022.0191
D. Flory
{"title":"Disgust, Race and Ideology in Carl Franklin’s Devil in a Blue Dress","authors":"D. Flory","doi":"10.3366/film.2022.0191","DOIUrl":"https://doi.org/10.3366/film.2022.0191","url":null,"abstract":"This article uses Carl Plantinga’s and Noël Carroll’s theorizations regarding cinematic disgust to analyze Carl Franklin’s 1995 film noir, Devil in a Blue Dress. Plantinga argues for a link between disgust and ideology that helps to reveal deeper cultural significance in film, which Carroll’s work likewise supports. Plantinga further argues that disgust in art may be strangely attractive as well as repulsive, thereby eliciting reflection. I argue that combining these elements with philosopher Kwame Anthony Appiah’s explanation of how moral revolutions happen by means of honor codes helps to clarify not only viewer sympathy and solidarity for this film’s African-American protagonist, but also viewer moral disgust at another important white character’s racism. In particular, the film encourages its more thoughtful white viewers to reconsider as well as potentially change their affective responses, ideological predispositions, and habits of perception and attention regarding race, thereby facilitating fundamental moral change and even the possibility of moral revolution.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46875455","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Film-PhilosophyPub Date : 2022-06-01DOI: 10.3366/film.2022.0192
Sylvie Magerstaedt
{"title":"Humility and Greatness in Damien Chazelle’s First Man","authors":"Sylvie Magerstaedt","doi":"10.3366/film.2022.0192","DOIUrl":"https://doi.org/10.3366/film.2022.0192","url":null,"abstract":"While philosophical debates about the ethical dimension of cinema have flourished over the last few decades, discussions of cinema and virtues are still limited. And, even if virtues are explored with regard to film, humility is not often the most obvious virtue that comes to mind. As this article argues, this might in part be due to humility’s lack of expressive action and its tendency to remain in the background. In addition, the wide range of philosophical views on what actually counts as virtuous humility, if it is to be considered a virtue at all, further problematises the discussion. One aspect of these disagreements is the question of humility’s compatibility with great achievement. This article aims to demonstrate both how humility can be shown on screen and reveal greatness and humility can go together in practice. For this, the author draws on contemporary philosophical accounts of the virtue of humility to examine Damien Chazelle’s 2018 film First Man, a Neil Armstrong biopic based on James R. Hansen’s biography of the same name. The article outlines how both the distinct portrayal of its main protagonist and the film’s aesthetic features, such as mise-en-scène, sound and editing, are used to convey an idea of humility that reconciles achievement, ambition and greatness with a recognition of sacrifice, serendipity and sometimes the futility of human endeavours. Consequently, First Man is not only a film about a humble main character, but also indicates how cinematic techniques can be used effectively to enable us to experience humility, thus demonstrating how films can make a distinct contribution to philosophical debates about virtues beyond mere illustration.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48097165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Film-PhilosophyPub Date : 2022-06-01DOI: 10.3366/film.2022.0195
D. Shaul
{"title":"Hegel and Hitchcock’s Vertigo: On Reconciliation","authors":"D. Shaul","doi":"10.3366/film.2022.0195","DOIUrl":"https://doi.org/10.3366/film.2022.0195","url":null,"abstract":"This article reconstructs and evaluates a debate between Pippin and Žižek over the proper interpretation of Hitchcock’s Vertigo, in relation to Hegel’s concept of reconciliation. Both Pippin and Žižek agree that Vertigo exemplifies Hegelian reconciliation: Scottie exhibits Hegel’s reconciliatory “negation of negation” when he realizes that his lost love Madeleine had really been Judy all along, thereby losing his original loss. Yet Pippin and Žižek disagree on the precise significance of the concept of reconciliation both for the film and for the contemporary world. Žižek argues for a revolutionary reading of reconciliation in Vertigo: we learn from reconciliation that we must make a revolutionary break from the present world, in order to bring about a wholly new world. Pippin argues for a reformist reading of reconciliation in Vertigo: we learn from reconciliation that we must find the “traces of reason” latent in the present world, in order to gradually reform it for the better. Ultimately, I argue that Žižek’s reading offers the more authentically Hegelian approach to interpreting Hitchcock’s Vertigo. But if nothing else, the Pippin-Žižek debate demonstrates the profound intellectual fecundity of the intersections between film and philosophy for understanding our current historical moment.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44860795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Film-PhilosophyPub Date : 2022-06-01DOI: 10.3366/film.2022.0197
Paul-William Burch
{"title":"Receptivity, Simultaneity: The Thin Red Line as Ecological Cinematic Poesis","authors":"Paul-William Burch","doi":"10.3366/film.2022.0197","DOIUrl":"https://doi.org/10.3366/film.2022.0197","url":null,"abstract":"I adapt Robert Sinnerbrink's notion of cinematic poesis by arguing that Terrence Malick's The Thin Red Line constitutes an example of ecological cinematic poesis: a style of filmmaking that works in concert with the limits and potentialities of the filmmaking as a medium. This cinematic bearing emerges in a new way following Malick's return to Hollywood, where a combination of factors spur the emergence of a radical Emersonian practice of cinematic receptivity. I draw on oral histories, and the film itself, to demonstrate how Malick's creative process consistently tends towards an ethos of poverty. To further pattern and illuminate the ecological stakes of this Emersonian stance, I draw on the complementary framework of second-order systems theory, and in particular, on Niklas Luhmann's concept of simultaneity. In so doing, I outline the layered nature of Malick's cinematic praxis – a doubled Emersonian receptivity which not only invites defamiliarizing depictions of warfare and the nonhuman, but also welcomes, and toys with, the otherness haunting technical images and human cognition. As such, The Thin Red Line, and its immediate counterparts, perform the ecological work of reframing the conditions of wonder, asking us to marvel not at what we have seen, but what we haven’t.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43695396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Film-PhilosophyPub Date : 2022-06-01DOI: 10.3366/film.2022.0200
James Mulvey
{"title":"Gilberto Perez (2019) The Eloquent Screen: A Rhetoric of Film","authors":"James Mulvey","doi":"10.3366/film.2022.0200","DOIUrl":"https://doi.org/10.3366/film.2022.0200","url":null,"abstract":"","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43514357","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Film-PhilosophyPub Date : 2022-06-01DOI: 10.3366/film.2022.0194
Oisín Keohane
{"title":"The Disrobing of Aphrodite: Brigitte Bardot in Le Mépris","authors":"Oisín Keohane","doi":"10.3366/film.2022.0194","DOIUrl":"https://doi.org/10.3366/film.2022.0194","url":null,"abstract":"This article examines a number of philosophical concepts that are at stake in the visual culture of the nude. It particularly focuses on Aphrodite’s appearance, or rather, what I call her exposed concealment, in Jean-Luc Godard’s 1963 Le Mépris. A film, I argue, which is not only concerned with Aphrodite and the figure of the female nude via Brigitte Bardot, but which also explores the very idea of the sex goddess in cinema. In the first section I introduce arguments from T.J. Clark about the changing status of the nude in nineteenth-century France. In the second section, having introduced Kenneth Clark’s work on Aphrodite, I outline Michael Williams’ work on the archaeology of divine stardom and discuss my disagreement with the way Ginette Vincendeau and Colin Gardner interpret Bardot in the film. In the longest section, the third, I examine several shots in Le Mépris in conversation with Stanley Cavell and argue that the nude scenes both invoke and rework the pictorial language of nudity found in the history of painting and sculpture, as well as Bardot’s film back catalogue, and I conclude by suggesting the film provides an indirect critique of what Hegel says about female nudity.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45204874","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Film-PhilosophyPub Date : 2022-02-01DOI: 10.3366/film.2022.0184
George H. Carr
{"title":"Hunter Vaughan (2019) Hollywood's Dirtiest Secret: The Hidden Environmental Costs of the Movies","authors":"George H. Carr","doi":"10.3366/film.2022.0184","DOIUrl":"https://doi.org/10.3366/film.2022.0184","url":null,"abstract":"","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49081258","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}