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Ethics at the Cinema by Ward E. Jones,Samantha Vice Pdf
The editors of Ethics at the Cinema invited a diverse group of moral philosophers and philosophers of film to engage with ethical issues raised within, or within the process of viewing, a single film of each contributor's choice. The result is a unique collection of considerable breadth. Discussions focus on both classic and modern films, and topics range from problems of traditional concern to philosophers (e.g. virtue, justice, and ideals) to problems of traditional concern to filmmakers (e.g. sexuality, social belonging, and cultural identity).
Ethics at the Cinema by Ward E. Jones,Samantha Vice Pdf
The editors of Ethics at the Cinema invited a diverse group of moral philosophers and philosophers of film to engage with ethical issues raised within, or within the process of viewing, a single film of each contributor's choice. The result is a unique collection of considerable breadth. Discussions focus on both classic and modern films, and topics range from problems of traditional concern to philosophers (e.g. virtue, justice, and ideals) to problems of traditional concern to filmmakers (e.g. sexuality, social belonging, and cultural identity).
How do movies evoke and express ethical ideas? What role does our emotional involvement play in this process? What makes the aesthetic power of cinema ethically significant? Cinematic Ethics: Exploring Ethical Experience through Film addresses these questions by examining the idea of cinema as a medium of ethical experience with the power to provoke emotional understanding and philosophical thinking. In a clear and engaging style, Robert Sinnerbrink examines the key philosophical approaches to ethics in contemporary film theory and philosophy using detailed case studies of cinematic ethics across different genres, styles, and filmic traditions. Written in a lucid and lively style that will engage both specialist and non-specialist readers, this book is ideal for use in the academic study of philosophy and film. Key features include annotated suggestions for further reading at the end of each chapter and a filmography of movies useful for teaching and researching cinematic ethics.
World Cinema and the Ethics of Realism by Lúcia Nagib Pdf
World Cinema and the Ethics of Realism is a highly original study. Traditional views of cinematic realism usually draw on the so-called classical cinema and its allegiance to narrative mimesis, but Nagib challenges this, drawing instead on the filmmaker's commitment to truth and to the film medium's material bond with the real. Starting from the premise that world cinema's creative peaks are governed by an ethics of realism, Nagib conducts comparative case studies picked from world new waves, such as the Japanese New Wave, the French nouvelle vague, the Cinema Novo, the New German Cinema, the Russo-Cuban Revolutionary Cinema, the Portuguese self-performing auteur and the Inuit Indigenous Cinema. Drawing upon Badiou and Rancière, World Cinema and the Ethics of Realism revisits and reformulates several fundamental concepts in film studies, such as illusionism, identification, apparatus, alienation effects, presentation and representation. Its groundbreaking scholarship takes film theory in a bold new direction.
Ethics of Cinematic Experience: Screens of Alterity deals with the relationship between cinema and ethics from a philosophical perspective, finding an intrinsic connection between film spectatorship and the possibility of being open to different modes of alterity. The book’s main thesis is that openness to otherness is already found in the basic structures of cinematic experience. Through a close examination of the ethical relevance of the philosophy of Maurice Merleau-Ponty, Stanley Cavell, Emmanuel Levinas and Gilles Deleuze to cinema studies, Ethics of Cinematic Experience: Screens of Alterity pursues the question of how film can open the viewer to what is not her, and so bring her to encounter otherness in a way that is unique to cinematic experience. The book sees ethics as not just the subject, content or story of a film but part of its aesthetic structure. Accompanied by readings of films mainly from mainstream cinema, each chapter focuses on a different aspect of the encounter with alterity through cinema. The book gives particular attention to how theoretical discussion of the cinematic close-up can lead to ethical insights into the status of both the human and the non-human in film, and thus lead to an understanding of the relationships the viewer makes with them. The book is a helpful resource for students and scholars interested in the relationship between philosophy, film and ethics, and is appropriate for students of philosophy and media and cultural studies.
Earlier films were seen for the purpose of entertainment but scenario has been changed now. Today?s, films are not seen only for entertainment but they have a great impact on the thinking of human and also make them capable to understand and handle these situations. Further, films can also focus and maintain philosophical reflection on important aspects of human experience and the ethical theory that is meant to inform it. Similarly, this book teaches us about the ethics of care. The book titled as?Feminist ethics in film: Reconfiguring care through cinema, which examines the ways in which po.
Ethics Goes to the Movies by Christopher Falzon Pdf
Movies hold a mirror up to us, portraying the complexities of human reality through their characters and stories. And they vividly illustrate moral theories that address questions about how we are to live and what sort of people we ought to be. In this book, Christopher Falzon uses movies to provide a rich survey of moral positions as they have emerged through history. These include the ethics of the ancient world, medieval ethics, Enlightenment and Kantian ethics, existentialist ethics and the ethics of the other. Each theory is explained in detail, using a number of examples from the book’s wide selection of movies. The discussion draws on a range of recent and not-so-recent films, from Hollywood blockbusters to art-house cinema. Key Features: In addition to covering thinkers one would expect in an introduction to ethics (e.g., Plato, Aristotle, Kant), the book discusses less canonical figures in detail as well (e.g., Marcuse, Foucault, Habermas). Similarly, the book examines both major ethical theories (e.g., Kantianism, utilitarianism, virtue ethics) and theories too often glossed over in introductory texts (e.g. Stoicism, Epicureanism, Habermas's discourse ethics and Nietzschean ethics). A wide range of movies are discussed, from Hollywood blockbusters and classics like The Dark Knight, Casablanca and Dirty Harry to lesser known films, like Force Majeure and Under the Skin. Atthe end of each chapter a focus on two feature films is included, with a plot summary and interpretations of several key scenes with a time marker indicating when in the film the scenes occur. A Filmography includes all movies discussed in the book and a Glossary covers key philosophical terms and figures; both with corresponding page numbers.
Cinema Against Doublethink by David Martin-Jones Pdf
When is it OK to lie about the past? If history is a story, then everyone knows that the 'official story' is told by the winners. No matter what we may know about how the past really happened, history is as it is recorded: this is what George Orwell called doublethink. But what happens to all the lost, forgotten, censored, and disappeared pasts of world history? Cinema Against Doublethink uncovers how a world of cinemas acts as a giant archive of these lost pasts, a vast virtual store of the world’s memories. The most enchanting and disturbing films of recent years – Uncle Boonmee Who Can Recall his Past Lives, Nostalgia for the Light, Even the Rain, The Act of Killing, Carancho, Lady Vengeance – create ethical encounters with these lost pasts, covering vast swathes of the planet and crossing huge eras of time. Analysed using the philosophies of Gilles Deleuze (the time-image) and Enrique Dussel (transmodern ethics), the multitudinous cinemas of the world are shown to speak out against doublethink, countering this biggest lie of all with their myriad 'false' versions of world history. Cinema, acting against doublethink, remains a powerful agent for reclaiming the truth of history for the 'post-truth' era.
Existing critical traditions fail to fully account for the impact of Austrian director, and 2009 Cannes Palm d'Or winner, Michael Haneke's films, situated as they are between intellectual projects and popular entertainments. In this first English-language introduction to, and critical analysis of, his work, each of Haneke's eight feature films are considered in detail. Particular attention is given to what the author terms Michael Haneke's 'ethical cinema' and the unique impact of these films upon their audiences. Drawing on the moral philosophy of Immanuel Kant and Stanley Cavell, Catherine Wheatley, introduces a new way of marrying film and moral philosophy, which explicitly examines the ethics of the film viewing experience. Haneke's films offer the viewer great freedom whilst simultaneously imposing a considerable burden of responsibility. How Haneke achieves this break with more conventional spectatorship models, and what its far-reaching implications are for film theory in general, constitute the principal subject of this book.
Economy, Emotion, and Ethics in Chinese Cinema by David Leiwei Li Pdf
The First and Second Comings of capitalism are conceptual shorthands used to capture the radical changes in global geopolitics from the Opium War to the end of the Cold War and beyond. Centring the role of capitalism in the Chinese everyday, the framework can be employed to comprehend contemporary Chinese culture in general and, as in this study, Chinese cinema in particular. This book investigates major Chinese-language films from mainland China, Taiwan, and Hong Kong in order to unpack a hyper-compressed capitalist modernity with distinctive Chinese characteristics. As a dialogue between the film genre as a mediation of microscopic social life, and the narrative of economic development as a macroscopic political abstraction, it engages the two otherwise remotely related worlds, illustrating how the State and the Subject are reconstituted cinematically in late capitalism. A deeply cultural, determinedly historical, and deliberately interdisciplinary study, it approaches "culture" anthropologically, as a way of life emanating from the everyday, and aesthetically, as imaginative forms and creative expressions. Economy, Emotion, and Ethics in Chinese Cinema will appeal to students and scholars of Chinese cinema, cultural studies, Asian studies, and interdisciplinary studies of politics and culture.
Unbecoming Cinema constitutes a welcome addition to texts that provide a film-philosophical perspective on films that otherwise take on and involve difficult subject matter, including in this case suicide, autistic worldviews, hallucinatory aesthetics and vomit-gore. The book in effect argues successfully and intelligently that even though hard to watch, many of these films can provide for viewers an opportunity to come to a renewed understanding of self and world. As a result, the author takes on difficult topics, but brings them to life in an exciting, philosophical fashion that also asks readers to rethink what it is that constitutes cinema
Narrative film can be a useful way of looking at bioethical scenarios. This volume presents a collection of brief, accessible essays written by international experts from medicine, social sciences, and the humanities, all of whom have experience using film in their teaching of medical ethics. Each author looks at a single scene from a popular film in order to illuminate its ethical dimensions.
Film and the Ethical Imagination by Asbjorn Gronstad Pdf
This book provides a comprehensive, critical overview of the turn to ethics in literature, film, and visual culture. It discusses the concept of a biovisual ethics, offering a new theory of the relation between film and ethics based on the premise that images are capable of generating their own ethical content. This ethics operates hermeneutically and materializes in cinema’s unique power to show us other modes of being. The author considers a wealth of contemporary art films and documentaries that embody ethical issues through the very form of the text. The ethical imagination generated by films such as The Nine Muses, Post Tenebras Lux, Amour, and Nostalgia For the Light is crucially defined by openness, uncertainty, opacity, and the refusal of hegemonic practices of visual representation.
The Ethics of Aesthetics in Japanese Cinema and Literature by Nina Cornyetz Pdf
This is an innovative, scholarly and original study of the ethics of modern Japanese aesthetics from the 1930s, through the Second World War and into the post-war period. Nina Cornyetz embarks on new and unprecedented readings of some of the most significant literary and film texts of the Japanese canon, for instance works by Kawabata Yasunari, Mishima Yukio, Abe Kôbô and Shinoda Masahiro, all renowned for their texts' aesthetic and philosophic brilliance. Cornyetz uniquely opens up the field in a fresh and controversial way by showing how these authors and filmmakers' concepts of beauty and relation to others were, in fact, deeply impacted by political and social factors. Probing questions are asked such as: How did Japanese fascism and imperialism ideologically, politically and aesthetically impact on these literary/cinematic giants? How did the emperor as the 'nodal point' for Japanese national identity affect their ethics? What were the repercussions of the virtual collapse of the Marxist movement in the 1960s? What are the similarities and differences between pre-war, wartime and post-war ideals of beauty and those of fascist aesthetics in general? This ground-breaking work is truly interdisciplinary and will appeal to students and scholars of Japanese literature, film, gender, culture, history and even psychoanalytic theory.
