Emotions play at least three key roles in cinema. First, many motion pictures present highly emotional situations, involving characters who fall in love, who endure unbearable loss, and who become hell-bent on revenge. To make sense of movies, we must identify the emotions that drive their characters. Second, motion pictures seem to arouse emotions. We go to tearjerkers that make us cry, splatter films that make us writhe, and action films that keep us at the edges (...) of our seats. Third, these emotional experiences are, ostensibly, part of cinema’s allure; we value movies that evoke strong feelings. One might summarize these three observations by saying that movie-going involves emotion attribution, arousal, and motivation. Each of these has been a domain of philosophical contestation. How are emotions attributed when experiencing a cinematic fiction? Are genuine emotions really aroused? And do emotional experiences really bring us to the box office? This discussion explores controversies along these three dimensions. (shrink)

While some film theorists and philosophers have seen motion as a necessary element of cinema, this view is challenged by a body of avant-garde films which offer little or no movement. These experiments—by film-makers such as Andy Warhol, Larry Gottheim, and Michael Snow—challenge essentialist definitions of film, while simultaneously foregrounding the crucial role played by duration in cinema’s ontology.

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

A COMPANION TO MOTION PICTURES AND PUBLIC VALUE A Companion to Motion Pictures and Public Value brings together original essays by world-renowned scholars investigating the varied intersections of the moving image and the public good. Covering a wide range of types and genres of cinema, this unprecedented volume explores the past, present, and possible future contributions of motion pictures to public value. With a cross-disciplinary approach, the text presents original conceptual work, global perspectives, philosophical (...) arguments, historical discussion, empirical research, and specific case studies of the direct and indirect public value developed through motion pictures. Organized into seven thematic sections, this Companion identifies and discusses the various kinds of values that motion pictures can deliver, including artistic and aesthetic, ethical and moral, spiritual and religious, cultural, environmental, political, and cognitive. Throughout the text, readers are provided with deep insight into the issue of public value as it relates to cinema and its positive impact on human life and society. A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines. (shrink)

This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new (...) insights into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. (shrink)

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with (...) contemporary social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (shrink)

"A book well worth reading as its expose of postmoderism has a clarity others would do well to imitate." --Tim Gay in NATFHE Journal Blue Velvet, sex, lies and videotape, Do the Right Thing, and Wall Street are just some of the provocative films that Denzin explores for their portrayal of the postmodern self. He examines the basic thesis that members of the contemporary world are voyeurs who, adrift in a sea of symbols, recognize and anchor themselves through cinema and (...) television. He skillfully weaves this idea back and forth between two kinds of texts: social theory, including poststructuralism, postmodernism, feminism, and marxism; and cinematic representations of life in modern America. The result is a solid assertion that postmodernism has shaped a dramaturgical society where the image has tragically replaced reality. Denzin offers a powerful reading of postmodern American society and the cinematic selves, however distorted, that inhabit this fantasy world. At the same time, he outlines the main contours of postmodern sociology and a postmodern sociological imagination that is responsive to the current historical moment. Images of Postmodern Society will play a key role in understanding the powerful relationship between postmodernism and the cinema for upper level graduates, gradate students, and contemporary scholars of cultural studies, communications, political science, anthropology, sociology, education, history, literary and cinema studies. "The book could be usefully incorporated into undergraduate sociology courses, particularly those that consider media and society, where it might serve as a basis for further discussion and examination of some important issues." --Journal of Communication "Images of Postmodern Society is a good book on two different levels. First, Denzin advances his own theory of postmodernism and, more specifically, of what he calls the "postmodern self," that is interesting and provocative. Second, this is one of the few books on postmodernity that is truly practical, in the sense that the book would be quite a good text to use in courses on the subject, whether they be in philosophy, sociology, film and media studies, cultural studies, and perhaps even anthropology. . . . I would certainly like to use the book for this purpose myself, and I would recommend the book for that purpose to colleagues in the departments mentioned." --Bill Martin, Philosophy Department, DePaul University "Denzin uncovers a profoundly important tension in postmodern culture . . . His work, then, demonstrates that the 'abundance of meaning' found in these films lies in the collision of modernist and postmodernist depictions of cultural practice." --Contemporary Sociology "Norman Denzin, one of the most interesting theorists and ethnographers in American sociology, has turned his critical eye to postmodern theory and contemporary American culture and society. Revitalizing Mills' sociological imagination, Denzin addresses the relations between Hollywood films of the 1980s, their constructions of self, and the structures of lived experience. He offers a postmodern sociology which addresses the increasingly conservative basis of postmodern ideologies of race, class, and gender. It offers an original postmodern critique of the postmodern. Images of Postmodern Society should be and will be widely read and discussed." --Larry Grossberg, University of Illinois. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary (...) value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume (...) collects the major European ÒwavesÓ and figures ; Latin American Third Cinemas ; radical art and the avant-garde ; and world cinemas. It also contains previously untranslated manifestos co-written by figures including Bolla’n, Debord, Hermosillo, Isou, Kieslowski, PainlevŽ, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture. (shrink)

In this book, Richard Dien Winfield builds upon Hegel’s Aesthetics to provide a comprehensive and systematic analysis of the individual fine arts, which remedies Hegel's inconsistencies and major omissions. In addition to conceiving the general aesthetics and particular stylistic forms of architecture, sculpture, painting, music, and literature, Winfield determines the fundamental character of the new arts of photography and cinema that the master thinkers of aesthetics never had the opportunity to consider. Winfield’s analysis covers a wide-ranging array of artistic creations (...) from diverse periods and cultures, while engaging in debate with the most important aesthetic theorists of the past and present. (shrink)

Hugely impressive in its scope, with introductory chapters on social history, the film industry and theories of realism, this indispensable history of these vital years contains unusually fresh discussions of films justly regards as important, alongside those unjustly ignored. The extensive filmography which accompanies Sex, Class and Realism will also prove to be an invaluable reference source in the teaching of British cinema history.

Providing an alternative to pyschoanalytically based descriptions, this major study presents a unique, new theoretical account of the way emotions and thought patterns interact in creating aesthetic effects in films. Using diverse examples, Torben Grodal shows how films activate effects in the viewer and how these effects are moulded by genres which determine the way in which characters will react in given situations.

The role of Alfred Kinsey, America's most influential sexologist, in the cultural revolution of sex and gender during the past fifty years remains as unquestionable as it has been controversial. This admiring biography argues that Kinsey also qualifies as an authentic great man of science in the tradition of Darwin. Kinsey's expert authority was recently challenged by James Jones, who claimed in his 1997 biography that Kinsey's terrible personal secrets—homosexuality and masochism—plagued his life and ruined his science. Jonathan Gathorne‐Hardy (...) sets out to repair Kinsey's reputation by defending him against this “Kenneth Starr school of biography” . The author seeks to rescue Kinsey's achievement from the stigmatizing charge that it was flawed because it subordinated science to subjectivity.Gathorne‐Hardy emphasizes Kinsey's methodological creativity and his interviewing genius. During his early career, when he worked on gall wasps, Kinsey's science developed as a practice of scrupulous collection, observation, and documentation. Even in graduate school, he was dubbed “get a million Kinsey,” and his belief in sheer quantity—as well as quantification—was just as apparent when he turned his attention to human sexuality. In 1938 Kinsey taught a course on marriage at Indiana University, where he spent his entire working life. Limited to married or engaged students and faculty, the course covered reproductive physiology, contraception, and a host of other sexual topics in explicit detail. Kinsey also used the course to gather data about his students' sex lives. The thousands of sexual histories collected at the Institute for Sex Research in later years—7,985 by Kinsey alone—attest to his scientific commitment to behavior as the only legitimate basis for a science of sex.The behavioral unit of analysis chosen by Kinsey was the orgasm—or “outlet,” as Kinsey called it. Because it was countable, the theory went, it was objective. Kinsey's ethic of measurement resulted in interviews involving at least 350 standard questions, whose answers were recorded in a custom code designed to fit on a single sheet of paper divided into 287 squares. Among the ironies of Kinsey's method was the fact that his sex histories measured linguistic rather than sexual behavior. What Kinsey actually compiled was a huge cache of stories, not direct observations of sexual behavior. Kinsey, who gathered more sexual stories than any other person alive, systematically aimed to eradicate all quirks and complexities in order to produce a statistical portrait of population‐wide behavior. Meanings might be historically important, but numbers, not narratives, would yield truth. The easy use of “human males” and “human females” in the titles of Kinsey's famous reports suggests how universal his scientific claims were—and also how devoid of temporal and cultural particularity.The resulting conception of human sexual nature is probably best represented in Kinsey's six‐point scale, where behavioral possibilities ranged from exclusively homosexual at one pole to exclusively heterosexual at the other. Diversity emerged as the premier fact about sexual behavior. While this placed men and women uncomfortably close to their primate cousins on an evolutionary map, making human sexual exceptionalism objectively unsustainable, it also produced a reformist sensibility that rooted its demand for toleration in the powerful evidence of natural facts. It is difficult to overstate how shocking Kinsey's picture of polymorphous sexuality was in a culture devoted to either/or binaries and prone to harsh judgments about deviation from norms. Kinsey's contribution was to point out the gap between ideology and behavior . That lots of people did lots of things at odds with professed sexual morality was, for some, a welcome relief and call to revolution. For others, it was a reason to hate Kinsey and blame him for changes in the realm of gender and sexuality already well under way by midcentury.No biographies can save scientific heroes from the fatal charge that their methods and findings were bound up in their lives, or they would not be biographies worth reading. This attests to the stubborn endurance of the psychoanalytic paradigm. Kinsey despised Freud for passing off philosophy as science. Yet because of the conventions of post‐Freudian biography, Gathorne‐Hardy must explore exactly those dimensions of Kinsey's life and character that Freud embraced but that Kinsey himself would never have admitted into the precincts of science. His childhood illnesses and struggles with an overbearing father, his rage against religion, fondness for music, charismatic yet autocratic style, and his own anguished sexuality are keys to puzzling out not only a life in science, but a life.Gathorne‐Hardy can hardly ignore evidence that Kinsey's own sexual appetites were diverse—“bisexual” is this author's preferred designation—or that his enterprise in sex research involved experimentation: the mostly married male members of Kinsey's team were expected to engage in sexual activities with one another and one another's wives. Kinsey's wife Clara was a confidant and supporter from the start. Their loving marriage was also an open marriage. Mac was a participant‐observer in the world of sex research. She had a series of affairs with Kinsey's colleagues and even changed the bedsheets during energetic sessions of sexual cinematography that took place in the attic of their home. Yet the Kinseys also shielded their children from their own unorthodox sexual practices.This biography concludes by suggesting that Kinsey died tragically in 1957, convinced that his enemies had the upper hand. Kinsey was wrong. The diversity he championed has become a theoretical staple in the human and life sciences as well as a practical goal in social policies related to gender, race, and sexuality. However unfinished it may be, it is difficult to imagine Kinsey's revolution being reversed in either science or society. (shrink)

In this paper I consider the role of freedom in the justification of prohibitions on discrimination. As a case study, I focus mainly on U.S. constitutional and employment law and, in particular, restrictions on sex-stereotyping. I present a new argument that freedom can play at least some important role in justifying these restrictions. Not just any freedom, I claim: the Millian freedom to challenge existing stereotypes and contribute to social change. This ‘social change account’, I argue, can be (...) a useful supplement to the existing theories where their explanations run out. It also draws support from familiar liberal justifications for speech and other liberties, and provides an attractive role for the courts. (shrink)

"The main spine of this book stems from a comprehensive series of interviews with subjects recalling their experiences of 1930s cinemagoing. Your feel the breath of life in these spectators, a rarity in film studies, thanks to the painstaking work contracting the interview subjects and recording and tabulating their testimony."- JUMPCUT In the 1930s, Britain had the highest annual per capita cinema attendance in the world, far surpassing ballroom dancing as the nation's favorite pastime. It was, as historian A.J.P. Taylor (...) said, the "essential social habit of the age." And yet, although we know something about the demographics of British cinemagoers, we know almost nothing of their experience of film, how film affected them, how it fit into their daily lives, what role cinema played in the larger culture of the time, and in what ways cinemagoing shaped the generation that came of age in the 1930s. In Dreaming of Fred and Ginger , Annette Kuhn draws upon contemporary publications, extensive interviews with cinemagoers themselves, and readings of selected film, to produce a provocative and perspective-altering ethno-historical study. Taking cinemagoers' accounts of their own experiences as both "the engine and product of investigation," Kuhn enters imaginatively into the world of 1930s cinema culture and analyzes its place in popular memory. Among the topics she examines are the physical space of the cinemas; the role film played in growing up; the experience of being a member of a cinema audience; film-inspired fantasies of American life; the importance of cinema to adolescence in offering role models, ideals of romance, as well as practical opportunities for courtship; and the sheer pleasure of watching such film stars as Fred Astaire, Ginger Rogers, Nelson Eddy, Ronald Colman, and many others. Engagingly written and painstakingly researched, with contributions to film history, cultural studies, and social history, Dreaming of Fred and Ginger offers an illuminating account of a key moment in British cultural memory. (shrink)

Scientists are portrayed as champions of objectivity and truth, and artists as champions of subjectivity and creative expression. Through analysis of modern art, John C. Gilmour shows how misleading is this separation of the world into objective and subjective spheres. This false dichotomy depends upon a dated philosophy of mind. The issues posed are developed from the ideas of Nietzche, Heidegger, Merleau-Ponty, Gadamer, Ricoeur, Wittgenstein, Rorty, Dewey, and Whitehead. Picturing the World requires us to reconceive the role of the (...) artist in the creative process and the role of the arts in general. (shrink)

_Minerva’s Night Out_ presents series of essays by noted philosopher and motion picture and media theorist Noël Carroll that explore issues at the intersection of philosophy, motion pictures, and popular culture. Presents a wide-ranging series of essays that reflect on philosophical issues relating to modern film and popular culture Authored by one of the best known philosophers dealing with film and popular culture Written in an accessible manner to appeal to students and scholars Coverage ranges from the (...) philosophy of Halloween to _Vertigo_ and the pathologies of romantic love. (shrink)

This book forms part of the multi-disciplinary Studies in Ethics Series from Liverpool Hope University. It explores the slipperiness of ethics as a concept and demonstrates the multiplicity of intellectual inquiry within contemporary Film Studies. At first glance, â ~ethicsâ (TM) is not necessarily a subject conventionally associated with film. Film is often regarded as a form of â ~lowbrowâ (TM) popular culture, either offering bland entertainment or deliberately setting out to shock â " or, more cynically, generate box office (...) revenue â " through gratuitous inclusion of sex and violence. Certainly, there have always been a minority of films based on the stereotypically â ~ethicalâ (TM) subject of religion, but these have often generated the most controversy, from the studio system decree that it was blasphemous to represent the corporeal body of Christ to the furore surrounding Martin Scorseseâ (TM)s The Last Temptation of Christ (1988). This book shows that from the silent era to the present day, film has been inherently concerned with ethical issues. In this light, the definition of ethics that informs the volume and is taken as the starting point of each of the chapters is the notion of personal or institutional motivation; most usually because a character or industry figure makes a decision or choice based on their own moral â " or ethical â " code. Once this is defined, the ethical dimension to films is immediately evident. This book takes as its central theme the difficulty of decisions refracted through personal ethical codes, and thus recognises that what counts as ethics, or morality, is always subjective. Some of the chapters explore films which take conventionally â ~goodâ (TM) ethical standpoints, others investigate why â ~badâ (TM) decisions were made; at least one explores the celebration of practices invoking popular disgust, but all the contributions study ethical decisions within film that represent the strongly felt convictions of those involved and, moreover, address aspects of filmmaking which force the spectator to be an active and reciprocal participant in the creation of meaning, thus implicitly acknowledging that ethics are subjective and in perpetual flux rather than fixed, objective truths. (shrink)

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. (shrink)

Visualizing and mental imagery are thought to be cognitive states by all sides of the imagery debate. Yet the phenomenology of those states has distinctly visual ingredients. This has potential consequences for the hypothesis that vision is cognitively impenetrable, the ability of visual processes to ground perceptual warrant and justification, and the distinction between cognitive and perceptual phenomenology. I explore those consequences by describing two forms of visual ambiguity that involve visualizing: the ability to visually experience a picture surface as (...) flat after it has caused volumetric nonconceptual contents, and the ability to use a surface initially perceived as flat to visualize three-dimensional scenes. In both cases, the visual processes which extract viewer-centered volumetric shapes have to rely solely on monocular depth cues in the absence of parallax and stereopsis. Those processes can be cognitively penetrated by acts of visualizing, including ones that draw on conceptual information about kinds. However, the penetrability of the visual processes does not weaken their ability to provide perceptual warrant and justification for beliefs. The reason is that picture perceptions—whether they are stimulus -driven or based on acts of visualizing—are different to object perceptions both phenomenologically and in terms of their functional roles as states. Thus, although the penetrability of the visual processes does mean that subjects can have visual experiences with contradictory contents, perceptual belief is adopted at most towards one set of contents, and questions of warrant and justification are raised only for those contents. A rule-proving exception is provided by trompe-l’oeils. (shrink)

Mixed results regarding the role of gender in moral reasoning prompted an investigation of an alternative characteristic that may be more influential in the process: sex role orientation. We present an empirical assessment of the relationship between an individual’s moral reasoning level and his/her sex role orientation, gender, and several academic factors. Our results indicate that sex role orientation is not related to moral reasoning level. Gender is related to moral reasoning in our study, women reasoning (...) at higher levels than men. We found a positive relationship between education and moral reasoning level, and moral reasoning levels differed across academic institutions. Our results also show business students have lower moral reasoning levels than students in other fields, although this result did not reach statistical significance. (shrink)

Philosophers have traditionally held that propositions mark the domain of rational thought and inference. Many philosophers have held that only conceptually sophisticated creatures like us could have propositional attitudes. But in recent decades, philosophers have adopted increasingly liberal views of propositional attitudes that encompass the mental states of various non-human animals. These views now sit alongside more traditional views within the philosophical mainstream. In this paper I argue that liberalized views of propositional attitudes are so liberal that they encompass states (...) of all sorts of apparently mindless systems like circadian clocks in plants. I begin by arguing that on the most well-developed and widely endorsed theories of underived representation in philosophy, circadian clocks qualify as representations. I then argue that standard reasons for thinking that perceptual states and pictures have propositional content carry over to circadian clocks. Finally, I argue that circadian representations in plants play the kind of functional role that is widely taken to be partly constitutive of belief-like attitudes. So according to mainstream theories of representation, propositions, and attitudes, plants have propositional attitudes. Yet on other more traditional views, this conclusion would seem absurd. So, contrary to appearances, there is no shared, stable understanding of what propositional attitudes are in contemporary philosophy. (shrink)

This volume presents a collection of about 80 very brief, accessible essays written by international experts from medicine, social sciences, and the humanities, ...

This is a review of the 2013 film Words and Pictures. Surprisingly, the film is not about justifying a role for the humanities in education but, rather, a battle to determine which is more valuable—literature or art?. At a time when many schools question if these have any value at all, this film uses passionate and afflicted teachers to explore which is most important and finds valuable intersections between the two.

Plato and the Moving Image shows how and why debates in the philosophy of film can be advanced through the study of the role of images in Plato’s dialogues, and vice versa.

Just Images: Ethics and the Cinematic charts current developments within the field of ethics and the role it plays in the study of moving images. It is the first collection of essays of its kind that brings together articles by film and media scholars from three continents, and provides multiple points of engagement of film with present and past histories, politics, myth making, and with core aspects of human subjectivity. The essays cover a wide range of topics, such as (...) the European Union; Europe during World War II and after; film genres; the Israeli-Palestinian conflict; early American history, and recent catastrophic events. The collection includes an introductory chapter by Thomas Elsaesser as well as chapters by Kristian Feigelson, Règine-Mihal Friedman, Nurith Gertz and Gal Hermoni, Anton Kaes, Gertrud Koch, Odeya Kohen-Raz, Lihi Nagler, Judd Ne'eman, Bill Nichols, and Janet Walker. The contributors offer different approaches to the issue of film and ethics and ask whether there are specific characteristics of the moving image, or of film scholarship, that relate to ethical issues; and how discussing the engagement of both narrative and documentary film with representations of the Other, trauma, terrorism, the Holocaust, and the Palestinian-Israeli conflict may contribute to the re-shaping of past and current thoughts on these subjects. (shrink)

Situated at the intersection of film and media studies, literary theory, and continental philosophy, The Traces of Jacques Derrida's Cinema provides a trenchant account of the role of cinema in the oeuvre of one of the most influential philosophers of the twentieth century, Jacques Derrida (1930-2004). The book is animated by Derrida's self-confessed passion for the movies, his reluctance to write about film despite the range of his corpus, and the generative encounters arising between his legacy and the field (...) of film and media studies as a result. Given the expanse of its references, interdisciplinarity, and consideration of Derrida's approach to the experience of both spectatorship and the act of being filmed, The Traces of Jacques Derrida's Cinema contributes to the ongoing close analyses of the philosopher's work while also providing a rigorous introduction to deconstruction. (shrink)

This paper reports on objectivity and knowledge production in the process of submitting, revising, and publishing an experimental research article in cognitive neuroscience. The review process, as part of scientific practice, is of particular interest, since it puts the research team in direct dialog with a larger scientific community concerned with fMRI evidence. By bringing this often ‘black‐boxed’ dimension of the manuscript’s production into the picture, I illustrate the role that the visual brain representations played in the practice of (...) scientific fact production. This allows me to point out how the knowledge is constructed through seeing, and how the showing of the fact through images bears traits of the scientific culture of which it is part. (shrink)

Biomedical and social scientists are increasingly calling the biological sex into question, arguing that sex is a graded spectrum rather than a binary trait. Leading science journals have been adopting this relativist view, thereby opposing fundamental biological facts. While we fully endorse efforts to create a more inclusive environment for gender‐diverse people, this does not require denying biological sex. On the contrary, the rejection of biological sex seems to be based on a lack of knowledge about evolution and it champions (...) species chauvinism, inasmuch as it imposes human identity notions on millions of other species. We argue that the biological definition of the sexes remains central to recognising the diversity of life. Humans with their unique combination of biological sex and gender are different from non‐human animals and plants in this respect. Denying the concept of biological sex, for whatever cause, ultimately erodes scientific progress and may open the flood gates to “alternative truths.”. (shrink)

Over the last decade, philosophers of education have begun taking a renewed interest in Rousseau’s educational thought. This is a welcome development as his ideas are rich with educational insights. His philosophy is not without its flaws, however. One significant flaw is his educational project for females, which is sexist in the highest degree. Rousseau argues that females should be taught to “please men…and make [men’s] lives agreeable and sweet.” The question becomes how could Rousseau make such strident claims, especially (...) in light of his far more insightful ideas concerning the education of males. This paper attempts to make sense of Rousseau’s ideas on the education of females. While I maintain that Rousseau’s project for Sophie ought to be rejected, I argue that we should try to understand how this otherwise insightful thinker could make such surprising claims. Is it a bizarre inconsistency in his philosophical reasoning or an expression of his unabashed misogyny, as so many have claimed? I argue that it is neither. Rather, it is a product of his conception of human happiness and his belief in the irreducible role human sexual relations has in achieving and prolonging that happiness. For Rousseau, sex, love and happiness are inextricably connected, and he believes that men and women will be happiest when they inhabit certain sex roles—not because sex roles are valuable in themselves, but because only through them can either men or women hope to be happy. (shrink)

Partly by way of contrast with a conception described by Kleist, Wittgenstein's notions of world?picture and mythology are explained and three types of statement playing a particularly important role with respect to our world?picture or pictures distinguished. Problems concerning sentences which contain normative elements are discussed and a test for what to count as a statement giving information about our world?picture is proposed. A mythology in Wittgenstein's sense is characterized as a structured, systematic set of models permitting analogical (...) development and the gradual change of previous paradigms. (shrink)

There has been a long tradition of characterizing man as the animal that is capable of propositional language. However, the remarkable ability of using pictures also only belongs to human beings. Both faculties however depend conceptually on the ability to refer to absent situations by means of sign acts called 'context building'. The paper investigates the combined roles of quasi-pictorial sign acts and proto-assertive sign acts in the situation of initial context building, which, in the context of “concept-genetic” considerations, (...) aims for a philosophical explanation of the anthropological functon of pictures and their relation to imagination. (shrink)

Congenitally blind people can make and understand ‘tactile pictures’ – representations form of raised ridges on flat surfaces. If made visible, these representations can serve as pictures for the sighted. Does it follow that we should take at face value the idea that they are pictures made for touch? I explore this question, and the related issue of the aesthetics of ‘tactile pictures’ by considering the role in both depiction and pictorial aesthetics of experience, and (...) by asking how far the experience of those engaging with representations through touch can approximate to that of those engaging with them through sight. (shrink)

This paper concerns the role of intuitions in mathematics, where intuitions are meant in the Kantian sense, i.e. the “seeing” of mathematical ideas by means of pictures, diagrams, thought experiments, etc.. The main problem discussed here is whether Platonistic argumentation, according to which some pictures can be considered as proofs (or parts of proofs) of some mathematical facts, is convincing and consistent. As a starting point, I discuss James Robert Brown’s recent book Philosophy of Mathematics, in particular, (...) his primarily examples and analogies. I then consider some alternatives and counterarguments, namely John Norton’s opposite view, that intuitions are just pictorially represented logical arguments and are superfluous; and the Kantian transcendental theory of construction in imagination, as it is developed in the works of Marcus Giaquinto and Michael Friedman. Although I support the claim that some intuitions are essential in mathematical justification, I argue that a Platonistic approach to intuitions is partial and one should go further than a Platonist in explaining how some intuitions can deliver new mathematical knowledge. (shrink)

This chapter focuses on the human body and how it falls out of Spinoza's physical picture in a natural way that it is a modification of something more fundamental. Spinoza's further view that the human mind is Substance's understanding of the universe when restricted to the human body implies that the mind, too, is a modification of something more basic, namely, Substance's thought. The appearance of a human body in Spinoza's plenum is merely the emergence of a new pattern of (...) motion and rest within Extension. The Aristotelian thesis that the real definition of a human being is rational animal may sound to us too “logical” or “formal” to count as a piece of natural philosophy, a piece of natural science. Spinoza's view that finite things depend on the invariant structure of some more basic order brings his natural philosophy much closer to ours than to Aristotelian natural philosophy. (shrink)

This article examines the role of picturability in mathematical demonstration in the seventeenth and eighteenth centuries and draws attention to the general question of the role that picturability places in cognitive grasp. It suggests that mathematical demonstration is particularly applicable in cognitive grasp it allows the problematic to be identified with some precision. It also discusses infinitesimal analysis and the question of direct proof and evaluates the role of picturability in the analysis of human cognitive capacities.

Normative pictures are in use in various fields of legal practice. A background knowledge enables the understanding of this sort of pictures and affects both the morphology of the normative picture and its practical use. This paper is divided into two parts. The first part will focus on the morphology of normative pictures. The second part of the paper focuses on the different uses of normative pictures. Normative pictures with the same morphology can play very (...) different roles because their relationship with the rules can vary. (shrink)

This book considers ethical issues arising in professional and business settings and the role of individuals making decisions and coping with moral dilemmas. It starts by elaborating on critical thinking and on normative ethical theories, subsequently presenting the structure and cinematic elements of narrative film. These two avenues are tools for evaluating films and for discussions on various ethical problems in contemporary business, including: the corporate and banking financial machinations (greed, fraud, social responsibility); workplace ethical challenges (harassment, violence, inequity, (...) inequality); professional and business ethical challenges (corruption, whistleblowing, outsourcing and downsizing); and personal responsibility and identity challenges due to career pressures, loss of privacy and cyber harassment, and job structure changes in light of changing technology. Readers can benefit from engagement in filmic narratives, as a simulated environment for developing a stance towards ethical challenges. (shrink)

This paper weaves together a number of separate strands each relating to an aspect of Wittgenstein’s Philosophical Investigations. The first strand introduces his radical and incoherent idea of a private object. Wittgenstein in § 258 and related passages is not investigating a perfectly ordinary notion of first person privacy; but his critics have treated his question, whether a private language is possible, solely in terms of their quite separate question of how our ordinary sensation terms can be understood, in a (...) philosophical context, to acquire meaning. Yet it is no part of his intention to demonstrate logically that ordinary sensations are not intrinsically meaningful. This is a tempting yet misleading picture, the picture also expressed through the idea of Augustine’s child who is conceptually articulateprior to learning how to talk. This picture lies behind the born Crusoe, an idea at the centre of the dichotomy between language as essentially shared and essentially shareable, a dichotomy considered here to result from a misconception of two quite separate but related aspects of Wittgenstein’s treatment offollowing a rule. The notion of a misleading picture, in both its pre-theoretical and philosophical aspects, also plays a crucial role in a treatment of Saul Kripke’s well-known “Postscript: Wittgenstein and Other Minds.”. (shrink)

The article takes Cornelius Castoriadis’ concept of the ‘political imaginary’ as an invitation to reflect on the role of pictures in politics and in facilitating alternative policies. For this purpose, pictures are not understood as merely rhetorical or propagandistic representations of political statements, which are actually to be thought of independently of the particular picture. Instead, by means of their specific pictorial qualities, pictures also influence the ways politics are negotiated or pursued and, moreover, they can (...) stimulate alternative forms of political thinking. In order to argue for this understanding of the politics of pictures, the article proceeds in three steps: a brief review of the research on political iconography is followed by thoughts on Jacques Rancière and his concept of the ‘distribution of the sensible’. On this basis, an understanding of pictorial politics is finally sketched that asks for genuinely political potentials that are directly linked to the specific qualities of the image: its duality, its vagueness, and its temporality. (shrink)

This article investigates the maps of the moon produced in the mid-seventeenth century by Jesuit Giambattista Riccioli and Johannes Hevelius, whose cartographic projects competed for widespread acceptance. Although Hevelius’s Selenographia was applauded for its many detailed, self-engraved pictures of the moon, his cartography and proposed nomenclature were supplanted by Riccioli’s as offered in Almagestum novum, in spite of the latter’s simplistic pictures and promotion of geocentric cosmology. Exploring this paradox through pictorial analysis, three types of images common to (...) both Selenographia and Almagestum novum are compared, employing an analytical tool developed by Svetlana Alpers in The art of describing. A focus on this debate exposes the tensions evoked by new technologies of vision and competing cultures of visual epistemology in seventeenth-century astronomy. As both selenographers grappled with questions about the role of representation and what kinds of knowledge could be generated visually, the successes and failures of their competing projects present implications for the course of visual astronomy, as well as for our understanding of the use of ‘visual technologies’ in a period of controversy.Keywords: Johannes Hevelius; Giambattista Riccioli ; Svetlana Alpers; Astronomy; Early modern; Moon maps; Visual culture; Images in science. (shrink)

Everyone appreciates a clever mathematical picture, but the prevailing attitude is one of scepticism: diagrams, illustrations, and pictures prove nothing; they are psychologically important and heuristically useful, but only a traditional verbal/symbolic proof provides genuine evidence for a purported theorem. Like some other recent writers (Barwise and Etchemendy [1991]; Shin [1994]; and Giaquinto [1994]) I take a different view and argue, from historical considerations and some striking examples, for a positive evidential role for pictures in mathematics.

This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction. The first part is dedicated to a survey of the analytical debate on depiction, with special (...) attention to the fortunes and misfortunes of the resemblance theory of depiction. In the first chapter I give an outline of the main contemporary theories on offer, contextualised within an historical background that stretches from Plato to Descartes. I have decided to focus on the theory of resemblance more than on other approaches on depiction, because much of my research is dedicated to an analysis and implementation of one of the theories that have recently sought to re-discover the resemblance paradigm, although with certain important modifications. Namely, the second chapter is dedicated to the exposition of John Hyman’s basic resemblance theory of depiction, to the elucidation of its presuppositions and to the discussion of some criticisms and objections that the theory has raised. The third and the fourth chapter are dedicated to the implementation of Hyman’s theory in relation to the phenomenon of abstract painting. There are two peculiarities about Hyman’s theory: first, it is in counter-tendency in comparison with all the other accounts of depiction on offer, in that it does not need to conceive of pictorial representation as of representation of particulars or kinds of objects that we can easily identify. Second, it is a theory that gives art a prominent role: Hyman illustrates his claims with many examples taken from the history of figurative art. The second part of my work is inspired by the idea that the basic resemblance theory can be applied to abstract paintings as well. Developing an analysis of abstract painting from an analytical point of view is a task that very few authors have tried to accomplish so far – as far as I am aware. However, it is evident that the task abstract painters have set themselves is interestingly akin to the task philosophers try to accomplish when arguing about depiction. It is widely agreed that one of the main topics of contemporary art is art itself and that one of the main topics of abstract painting is the art of painting itself, the art of producing pictures, the exploration of its limits and its conventions. With these considerations in mind, I have sought to sketch my proposal for a basic resemblance theory of abstract painting, critically engaging with philosophers such as Richard Wollheim, Kendall Walton, Lambert Wiesing and with art-critics and historians such as Clement Greenberg and Ernst Gombrich. (shrink)

The present research investigated the use of counter-stereotypical pictures as a strategy for overcoming spontaneous gender stereotypes when certain social role nouns and professional terms are read. Across two experiments, participants completed a judgment task in which they were presented with word pairs comprised of a role noun with a stereotypical gender bias (e.g., beautician) and a kinship term with definitional gender (e.g., brother). Their task was to quickly decide whether or not both terms could refer to (...) one person. In each experiment they completed two blocks of such judgment trials separated by a training session in which they were presented with pictures of people working in gender counter-stereotypical (Experiment 1) or gender stereotypical roles (Experiment 2). To ensure participants were focused on the pictures, they were also required to answer four questions on each one relating to the character’s leisure activities, earnings, job satisfaction, and personal life. Accuracy of judgments to stereotype incongruent pairings was found to improve significantly across blocks when participants were exposed to counter-stereotype images (9.87%) as opposed to stereotypical images (0.12%), while response times decreased significantly across blocks in both studies. It is concluded that exposure to counter-stereotypical pictures is a valuable strategy for overcoming spontaneous gender stereotype biases in the short term. (shrink)

Beyond the defiance of the young iconoclast—Wilde himself, of course—and the rather perfunctory curve of Dorian Gray to that gothic final sight , there is another, possibly less strident, but more central theme. That one is damned for selling one's soul to the devil is a commonplace in legends; what arrests our attention more, perhaps, is Wilde's claim or boast or worry or warning that one might indeed be poisoned by a book . . . and that the artist, even (...) the presumably "good" Basil Hallward, is the diabolical agent. Wilde's novel must be seen as a highly serious meditation upon the moral role of the artist—an interior challenge, in fact, to the insouciance of the famous pronouncements that would assure us that there is no such thing as a moral or an immoral book or that all art is "quite useless." Wilde's genius was disfigured by his talent: he always sounds much more flippant, far more superficial, than he really is. So one always say about Dorian Gray, with an air of surprise, that the novel is exceptionally good after all—and anyone who has read it recently replies, with the same air of faint incredulity, yes, it is exceptionally good—in fact, one of the strongest and most haunting of English novels. Yet its reputation remains questionable. Gerald Weales virtually dismisses it as "terribly fin de siècle " in a rather flippant introduction to the novel, and it would be difficult to find a critic who would choose to discuss it in terms other than the familiar ones of decadence, art for art's sake, art as "the telling of beautiful untrue things." Joyce Carol Oates has written, among others, Bellefleur, Childhood, a collection of short stories, Nightside, and Son of the Morning. Her contributions to Critical Inquiry, include "Jocoserious Joyce" and "Lawrence's Gotterdammerung". (shrink)

Prenatal ultrasound is a non-invasive diagnostic examination. Despite the recognized diagnostic value, this technology raises complex ethical questions. The aim of this study is to provide a comprehensive analysis that coherently maps the ethical challenges raised by prenatal ultrasound examination, both 2D and 3D. We performed a systematic literature review. Six databases were systematically searched. The results highlight how concerns related to beneficence, informed consent, and autonomy are mainly related to routine use of prenatal ultrasound in the clinical context, while (...) considerations linked to overmedicalization of pregnancy, discrimination, and fetal ontology were often reported in relation to the impact ultrasound is having on medicine and society. Ethical issues in the context of pre-abortion ultrasound, obstetric practices in low-income settings, and keepsake ultrasound imaging were also greatly discussed. Since prenatal ultrasound practices critically impact pregnant people’s autonomy and their role within pregnancy, we conclude that information providing strategies should be developed to appropriately inform pregnant people about the nature, purpose, risks, and choices revolving around prenatal ultrasound. In addition, as it is becoming increasingly difficult to separate the social and clinical dimensions of prenatal ultrasound, future research should focus on examining if and how such dimensions should be reconciled. (shrink)

This paper outlines a ‘perceptual account’ of depiction. It centrally contrasts with experiential accounts of depiction in that seeing something in a picture is understood as a visual experience of something present in the picture, rather than as a visual experience of something absent. The experience of a picture is in this respect akin to a veridical rather than hallucinatory perceptual experience on a perceptual account. Thus, the central selling-point of a perceptual account is that it allows taking at face (...) value the intuitive claim that we see things in pictures. Preserving this claim has a potential cost, however: we need to postulate that some kind of thing, T, is present in the realm of the picture, and it is not straightforward to find a plausible type of entity to play this role. The paper examines three alternative choices of T; T may be a material object, a visual appearance or a universal. (shrink)

By far the largest part of Nehemiah Grew?s account of a seventeenth?century collection of rarities, his Musæum Regalis Societatis (1685) is taken up with ?thick?, verbal descriptions of things in the Royal Society?s repository. Not only, Grew suggests, do his descriptions serve to signify the contents of his collection, but they enable us to discern among species and to think about the collection?s pieces in new ways. Verbal descriptions did not just signify things in the Royal Society?s collection, but had (...) the capacity to alter their meanings. The essay discusses the ?picturing? of natural things in Early Modern Europe with little direct reference to the contemporary media of graphic representation ? drawings, engravings, paintings etc. ? in order to highlight the role of the then most widely used, but now least discussed of these media, verbal descriptions. (shrink)