Download Cinematic Philosophy by Tal S. Shamir (auth.) PDF

By Tal S. Shamir (auth.)

In this booklet, Tal S. Shamir units out to spot cinema as a unique medium for philosophy and a huge approach of manifesting and constructing philosophical notion. the quantity provides a finished research of the character of philosophy’s potential—or, extra strongly placed, its need—to be manifested cinematically. Drawing at the fields of cinema, philosophy, and media reviews, Cinematic Philosophy provides movie to the normal record of how during which philosophy will be created, focusing on the original strength of the cinematic medium to successfully recommend and create philosophy. within the technique, the booklet opens up leading edge horizons for brand new varieties of wisdom and knowledge grounded in modern contexts and philosophical suggestion. Philosophy, most sensible characterised because the love of knowledge, isn't really depending on a particular medium nor exclusively positioned inside of written textual content or oral lectures. Shamir asserts that philosophy can, may still, and has to be manifested and pointed out in quite a number diverse platforms.

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Extra resources for Cinematic Philosophy

Sample text

The philosophy of film: Introductory text and readings, (pp. 1–4). Malden, MA: Blackwell Publishing. Films & Artworks Antonioni, M. (1966). Blow up. [Motion Picture]. Bertolucci, B. (1970). The conformist. [Motion Picture]. Greenaway, P. (1982). The Draughtsman's contract. [Motion Picture]. Madden, J. (1998). Shakespeare in love. [Motion Picture]. Marclay, C. (2011). The Clock. [Video Installation]. Parker, A. (2003). The life of David Gale. [Motion Picture]. Ramis, H. (1993). Groundhog day. [Motion Picture].

He believes that the truth of a thing and the truth of the camera are epistemically wed. He stresses that the authority of the film lies in its recording function, leading him to argue that cinema is true, but the story is false (Bernstein 2012). Finally, for the phenomenologist3 Maurice Merleau-Ponty, films are able to show us an expression of the mind (Frampton 2006, 40–41). Phenomenology reveals how in thinking the objects in front of us, we— in some sense—own them. This strange possession of the world mirrors film’s possession of its characters and settings.

5: Foundation III – Thought Experiments. 2. In essence, cinematic montage evokes an idea that is derived from the collision between two independent shots. 3. Phenomenology is essentially the philosophy of experience, the study of consciousness, concentrating on our experience of things. 4. Cavell gives Charlie Chaplin and Buster Keaton as examples who lived by this knowledge and may have elevated it to its purest expression. 5. In a conversation with Andrew Klevan (2005), Stanley Cavell refers to Laura Mulvey’s (1975) influential paper on the male gaze.

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