Thinking Through Cinema: Film as Philosophy - Softcover

Über die Autorin bzw. den Autor

Murray Smith is Professor of Film Studies at the University of Kent, UK. He is the author of Engaging Characters: Fiction, Emotion, and the Cinema (Oxford, 1995) and Trainspotting (British Film Institute, 2002), and the co-editor of Film Theory and Philosophy (Oxford University Press, 1998) and Contemporary Hollywood Cinema (Routledge, 1998). He has published widely on the relationship between ethics, emotion, and films, including essays in this journal and Cinema Journal.

Thomas E. Wartenberg is Chair of the Philosophy Department at Mount Holyoke College, where he also teaches in the Film Studies Program. He is the author of Unlikely Couples: Movie Romance as Social Criticism (Westview Press, 1999) and The Forms of Power: From Domination to Transformation (Temple University Press, 1990), the editor of The Nature of Art (Wadsworth Publishing, 2001), and the co-editor of Philosophy and Film (Routledge, 1995)and The Philosophy of Film: Introductory Text and Readings (Blackwell, 2005).

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Over the last decade the philosophy of film has emerged as a distinctive
field within aesthetics, engaging with a variety of questions concerning
the relationship between film and art. One question in particular
has become very prominent in philosophical discussions of film: to what extent can film―or individual films―act as a vehicle of or forum for philosophy itself? This is the domain of “film as philosophy,” which forms the focus of this volume. The collection brings together a wide range of contributors, including both philosophers and film scholars. All of them address the question of whether philosophy can take the form of, or be articulated through, film. The contributors canvas a wide variety of forms and periods of film as they present diverse answers to this question.

Aus dem Klappentext

Over the last decade the philosophy of film has emerged as a distinctive
field within aesthetics, engaging with a variety of questions concerning
the relationship between film and art. One question in particular
has become very prominent in philosophical discussions of film: to what extent can film—or individual films—act as a vehicle of or forum for philosophy itself? This is the domain of “film as philosophy,” which forms the focus of this volume. The collection brings together a wide range of contributors, including both philosophers and film scholars. All of them address the question of whether philosophy can take the form of, or be articulated through, film. The contributors canvas a wide variety of forms and periods of film as they present diverse answers to this question.