By Tal S. Shamir (auth.)
In this e-book, Tal S. Shamir units out to spot cinema as a unique medium for philosophy and a massive means of manifesting and constructing philosophical proposal. the quantity offers a finished research of the character of philosophy’s potential—or, extra strongly positioned, its need—to be manifested cinematically. Drawing at the fields of cinema, philosophy, and media reports, Cinematic Philosophy provides movie to the normal checklist of the way wherein philosophy should be created, targeting the original capability of the cinematic medium to successfully recommend and create philosophy. within the strategy, the publication opens up cutting edge horizons for brand spanking new varieties of wisdom and knowledge grounded in modern contexts and philosophical notion. Philosophy, top 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 needs to be manifested and pointed out in a number of diverse platforms.
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Additional resources for Cinematic Philosophy
Instead, he went straight from cinema to philosophy, and from philosophy to cinema. STANLEY CAVELL: FILM IS MADE FOR PHILOSOPHY In his introduction to Cavell on Film, William Rothman notes that Stanley Cavell saw the marriage between film and philosophy as a necessity and that Cavell is the only major American philosopher to have made the subject of film central to his work (Rothman 2005). For Cavell, “Film is made for philosophy; it shifts or puts different light on whatever philosophy has said about appearance and reality, about actors and characters, about skepticism and dogmatism, about presence and absence” (Cavell 1999, FOUNDATION I—THE EVOLUTION OF FILM AND PHILOSOPHY 31 25).
A Few Considerations When Analyzing Films within the Context of Cinematic Philosophy There are a few methodological considerations to keep in mind when analyzing films within the context of cinematic philosophy. Because cinematic philosophy manifests philosophy experientially, it needs to be explored in a manner that is closer to the exploration of empirical events, phenomena, or experiments. Once we understand cinematic philosophy this way, we will have a different set of expectations of it. We do not expect empirical phenomena, for instance, to explain themselves or to be explicit2; instead, we put them into the context of an explanation or experimentation, in relation to a particular theory.
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