By Edited by Rupert Read Edited by Jerry Goodenough
A sequence of essays on movie and philosophy whose authors - philosophers or movie reports specialists - write on a wide selection of movies: vintage Hollywood comedies, battle motion pictures, japanese eu paintings motion pictures, technology fiction, exhibiting how movie and staring at it may not just remove darkness from philosophy yet, in a massive experience, be doing philosophy. The booklet is topped with an interview with Wittgensteinian thinker Stanley Cavell, discussing his pursuits in philosophy and in movie and the way they could come together.
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Extra info for Film as Philosophy: Essays on Cinema after Wittgenstein and Cavell
A philosophising expressed through character/voice pairings, mise-en-sce`ne and developments of atmosphere and of moral point of view that Critchley lays out for the reader. Habitual Remarriage: The Ends of Happiness in The Palm Beach Story Stuart Klawans Pursuits of Happiness, Stanley Cavell’s study of ‘the Hollywood comedy of remarriage,’ is marked by what seems to be a signiﬁcant omission: a near-total silence about Preston Sturges’ The Palm Beach Story. By means of a Cavell-inspired reading of this ﬁlm, and through an unCavellian ﬂeshing out of the description of the central performance, ‘Habitual Remarriage’ tests the terms and the limits of Pursuits of Happiness.
45 Bernard Williams deﬁnes truthfulness as a virtue that includes an ‘eagerness to see through appearances to the real structure and motives that lie behind them’,46 and truthfulness in this sense is a property that a ﬁlm could share with other sorts of texts, including the philosophical. 22 Film as Philosophy Baggini argues that seeing the matter in this way makes more sense of the claim that ﬁlm can be philosophy, for Film, like philosophy, can represent reality to us truthfully in such a way as to make us understand it better or more accurately than before.
A moving (in one sense of the word but clearly not in another) metaphor for Jarman’s own encroaching blindness, Blue is a probably unique challenge to the visual nature of cinema. A lesser challenge comes from von Trier’s Dancer in the Dark (2000), also a ﬁlm about blindness, wherein the screen is entirely black for three minutes. 7. And there have been some very useful recent books exploiting this approach. See, for instance, Falzon (2002) or Rowlands (2003). We, however, aim to go considerably beyond such an approach.