By Tal S. Shamir (auth.)
In this booklet, Tal S. Shamir units out to spot cinema as a singular medium for philosophy and an incredible method of manifesting and constructing philosophical inspiration. the amount provides a entire 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 reports, Cinematic Philosophy provides movie to the conventional checklist of the way wherein philosophy will be created, targeting the original strength of the cinematic medium to successfully recommend and create philosophy. within the technique, the e-book opens up leading edge horizons for brand new different types of wisdom and knowledge grounded in modern contexts and philosophical notion. Philosophy, most sensible characterised because the love of knowledge, isn't 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 diversified platforms.
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Additional info for Cinematic Philosophy
The film allows us to perceive and to feel, to experience what is happening at a deeper and more persuasive level than any mere written account could manage” (Goodenough 2005, 12). Goodenough argues that the film manages to make the metaconcept of Dick’s novel plausible in a way that a mere argument on paper cannot (23–25). He claims, therefore, that a film might be able to do philosophy, or at least, a different way of doing philosophy (25). But he says this with caution, adding that the philosophy to be found in or via a certain film might not always be deliberate philosophy; for instance, Goodenough makes no claims that Ridley Scott was consciously engaged with this kind of philosophical work.
And if he could make such a mistake, then possibly, some contemporary thinkers may be making a similar mistake about our own up-and-coming technology. Philosophy was not born with writing and has no pure connection to it. Philosophy can, should, and must be created in other platforms. Misleading Semantics within the Discipline of Film and Philosophy There is a hidden dogma within the semantics of the discipline of film and philosophy. The obvious semantics of the words film (on one side) and philosophy (on the other) conceals an elusive element, an unconscious implication that there is a pure or natural platform for philosophy, which is not film.
London: Routledge. Frampton, D. (2006). Filmosophy. London, UK: Wallflower Press. Glendinning, S. (2005). The Everydayness of Don Giovanni. In R. 94–113). New York: Palgrave Macmillan. Goodenough, J. (2005). Introduction I: A philosopher goes to the cinema. 1–28). New York: Palgrave Macmillan. Kierkegaard, S. (1843/1992). Either/Or. A Fragment of Life. ). London, UK: Penguin Books. Klevan, A. (2005). What becomes of thinking on film? Stanley Cavell in conversation with Andrew Klevan. ), Film as philosophy: Essays in cinema after Wittgenstein and Cavell, (pp.
Cinematic Philosophy by Tal S. Shamir (auth.)