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9781441122575

New Philosophies of Film Thinking Images

by
  • ISBN13:

    9781441122575

  • ISBN10:

    1441122575

  • Format: Hardcover
  • Copyright: 2011-12-15
  • Publisher: Bloomsbury Academic
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Summary

The relationship between film and philosophy has become a topic of intense intellectual interest. But how should we understand this relationship? Can philosophy renew our understanding of film? Can film challenge or even transform how we understand philosophy? New Philosophies of Film explores these questions in relation to both analytic and Continental philosophies of film, arguing that the best way to overcome the mutual antagonism between these approaches is by constructing a more pluralist film-philosophy grounded in detailed engagement with particular films and filmmakers. Sinnerbrink not only provides lucid critical analyses of the exciting developments and contentious debates in the new philosophies of film, but also showcases how a pluralist film-philosophy works in the case of three challenging contemporary filmmakers: Terrence Malick, David Lynch, and Lars von Trier. New Philosophies of Film thus puts interdisciplinary inquiry on film and philosophy into practice, and should be of great interest to students and researchers working across the disciplines of philosophy, film

Table of Contents

Preface \ Introduction: Why Did Philosophy Go To The Movies? \ Part I: The Analytic-Cognitivist Turn \ 1. The Empire Strikes Back: Critiques of "Grand Theory" \ 2. The Rules of the Game: New Ontologies of Film \ 3. Adaptation: Philosophical Approaches to Narrative \ Part II: From Cognitivism to Film Philosophy \ 4. Cognitivism Goes to the Movies \ 5. Bande à part:Deleuze and Cavell as Film-Philosophers \ 6. Normal 0 false false false MicrosoftInternetExplorer4 <!-- /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-parent:"";margin:0cm;margin-bottom:.0001pt;mso-pagination:widow-orphan;font-size:12.0pt;mso-bidi-font-size:10.0pt;font-family:"Times New Roman";mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-US;}@page Section1{size:612.0pt 792.0pt;margin:72.0pt 90.0pt 72.0pt 90.0pt;mso-header-margin:36.0pt;mso-footer-margin:36.0pt;mso-paper-source:0;}div.Section1{page:Section1;}--> /* Style Definitions */ table.MsoNormalTable{mso-style-name:"Table Normal";mso-tstyle-rowband-size:0;mso-tstyle-colband-size:0;mso-style-noshow:yes;mso-style-parent:"";mso-padding-alt:0cm 5.4pt 0cm 5.4pt;mso-para-margin:0cm;mso-para-margin-bottom:.0001pt;mso-pagination:widow-orphan;font-size:10.0pt;font-family:"Times New Roman";mso-ansi-language:#0400;mso-fareast-language:#0400;mso-bidi-language:#0400;}Scenes from a Marriage: Film as Philosophy \ Part III: Cinematic Thinking \ 7. Normal 0 false false false MicrosoftInternetExplorer4 <!-- /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-parent:"";margin:0cm;margin-bottom:.0001pt;mso-pagination:widow-orphan;font-size:12.0pt;mso-bidi-font-size:10.0pt;font-family:"Times New Roman";mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-US;}@page Section1{size:612.0pt 792.0pt;margin:72.0pt 90.0pt 72.0pt 90.0pt;mso-header-margin:36.0pt;mso-footer-margin:36.0pt;mso-paper-source:0;}div.Section1{page:Section1;}--> /* Style Definitions */ table.MsoNormalTable{mso-style-name:"Table Normal";mso-tstyle-rowband-size:0;mso-tstyle-colband-size:0;mso-style-noshow:yes;mso-style-parent:"";mso-padding-alt:0cm 5.4pt 0cm 5.4pt;mso-para-margin:0cm;mso-para-margin-bottom:.0001pt;mso-pagination:widow-orphan;font-size:10.0pt;font-family:"Times New Roman";mso-ansi-language:#0400;mso-fareast-language:#0400;mso-bidi-language:#0400;}Hollywood in Trouble: David Lynch's INLANDEMPIRE \ 8. Normal 0 false false false MicrosoftInternetExplorer4 <!-- /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-parent:"";margin:0cm;margin-bottom:.0001pt;mso-pagination:widow-orphan;font-size:12.0pt;mso-bidi-font-size:10.0pt;font-family:"Times New Roman";mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-US;}@page Section1{size:612.0pt 792.0pt;margin:72.0pt 90.0pt 72.0pt 90.0pt;mso-header-margin:36.0pt;mso-footer-margin:36.0pt;mso-paper-source:0;}div.Section1{page:Section1;}--> /* Style Definitions */ table.MsoNormalTable{mso-style-name:"Table Normal";mso-tstyle-rowband-size:0;mso-tstyle-colband-size:0;mso-style-noshow:yes;mso-style-parent:"";mso-padding-alt:0cm 5.4pt 0cm 5.4pt;mso-para-margin:0cm;mso-para-margin-bottom:.0001pt;mso-pagination:widow-orphan;font-size:10.0pt;font-family:"Times New Roman";mso-ansi-language:#0400;mso-fareast-language:#0400;mso-bidi-language:#0400;}‘Chaos Reigns': Anti-cognitivism in Lars vonTrier's Antichrist&/UN

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