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By Paisley Livingston

Can cinema be a medium for philosophy? if this is the case, how is the philosophizing performed? Paisley Livingston explores the philosophical worth of cinema. As a case-study for his intentionalist idea of authorship and interpretation he specializes in Ingmar Bergman's cinematic explorations of encouraged irrationality, inauthenticity, and self-knowledge.

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Extra info for Cinema, Philosophy, Bergman: On Film as Philosophy

Example text

T. M. Knox (Oxford: Clarendon Press, 1975), ii. 995. As I am not attempting Hegel scholarship here, I set aside questions about the relations between these remarks and the German philosopher’s other writings. There is an obvious tension between Hegel’s emphasis on art’s final value in the cited passage and his more general discussions of art as an expression of truths that can be expressed by religion and philosophy. For some background on this point, see Stephen Houlgate, An Introduction to Hegel: Freedom, Truth and History (Malden, MA: Blackwell, 2005), ch.

While the identification of possible cases can be taken as a direct exploration of conceptual possibility, that procedure should not be conflated with the discovery of imaginationindependent empirical regularities. Yet, as David K. ²⁰ Note, however, that, if we are to reason soundly about the actual world on the basis of the content of a fiction, we must work with sound assumptions about the resemblance between the fictional cases and known features of actuality. For example, particular behaviour in the fiction is recognized as belonging to a category of actual behaviour, and it may turn out to be sound to assume that the For a commentary on Danto’s discussion of Warhol and for a related claim about philosophical argumentation in Tony Conrad’s The Flicker, see Wartenberg, Thinking on Screen, ch.

I. Lewis, An Analysis of Knowledge and Valuation (La Salle, IL: Open Court, 1946), 475–7. For background on the motivation behind such a distinction, see David Davies, ‘Works, Texts, and Contexts: Goodman on the Literary Artwork’, Canadian Journal of Philosophy, 21 (1991), 331–46, Gregory Currie, ‘Work and Text’, Mind, 100 (1991), 325–40, and my Art and Intention: A Philosophical Study (Oxford: Clarendon Press, 2005), ch. 4. 48 Surveying Cinema as Philosophy 3. While it may be true in the story that the characters kill each other, unless something very unusual and horrible has happened, the actors we see performing in the film are not actually killing anyone during the filming.

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