Plotinus and the Moving Image offers the first philosophical discussion on Plotinus' philosophy and film. It discusses Plotinian concepts like "the One" in a cinematic context and relates Plotinus' theory of time as a transitory intelligible movement of the soul to Bergson’s and Deleuze’s time-image. Film is a unique medium for a rapprochement of our modern consciousness with the thought of Plotinus. The Neoplatonic vestige is particularly worth exploring in the context of the newly emerging “Cinema of Contemplation.” Plotinus' (...) search for the "intelligible" that can be grasped neither by sense perception nor by merely logical abstractions leads to a fluent way of seeing. Parallels that had so far never been discussed are made plausible. This book is a milestone in the philosophy of film. (shrink)

Inspired by the philosophy of Wittgenstein and his idea that the purpose of real philosophical thinking is not to discover something new, but to show in a strikingly different light what is already there, this book provides philosophical readings of a number of ‘arthouse’ and Hollywood films. Each chapter contains a discussion of two films—one explored in greater detail and the other analyzed as a minor key which reveals the possibility for the book's ideas to be applied across different (...) films, registers, and genres. The readings are not only interpretive, but they offer a way of thinking and feeling about, with, and through films which is genuinely transformative. Rupert Read’s main contention is that certain films can bring about a change in how we see the world. He advocates an ecological approach to film-philosophy analysis, arguing that film can re-shape the viewer’s relationship to the environment and other living beings. The transformative 'wake-up call' of these films is enlightenment in its true sense. The result is a book that ambitiously aims to change, though film, how we think of ourselves and our place in the world, at a time when such change is more needed than ever before. (shrink)

Film, Philosophy, and Reality: Ancient Greece to Godard is an original contribution to film-philosophy that shows how thinking about movies can lead us into a richer appreciation and understanding of both reality and the nature of human experience. Focused on the question of the relationship between how things seem to us and how they really are, it is at once an introduction to philosophy through film and an introduction to film through philosophy. The book is divided (...) into three parts. The first is an introduction to philosophy and film, designed for the reader with little background in one or the other subject. The second examines the philosophical importance of the distinction between appearance and reality, and shows that reflection upon this distinction is naturally provoked by the experience of watching movies. The final part takes a close and careful look at the style and techniques of Jean-Luc Godard's groundbreaking film Breathless in order to illustrate how such themes can be explored cinematically. The book addresses topics such as: Film: what it is and how to understand it The methods and concerns of philosophy The nature of cinematic appearances The history of metaphysics The relationship between cinema and life The philosophical relevance of film techniques. With a glossary of key thinkers, terms, and concepts, as well as sections on suggested films and further reading, this textbook will appeal to lecturers and students in undergraduate philosophy and film courses, and in courses focused on Philosophy of Film, Philosophy and Film, or Film-Philosophy. (shrink)

This article discusses a relationship between the philosophical praxis of Ọ̀rúnmìlà and aesthetics of Èjìgbèdè Ẹ̀kú (i.e., the costume of the living and the costume of the dead) in Saworoidẹ (dir. Túndé Kèlání’s, 1999). I construct the Yorùbá/Ọ̀rúnmìlà philosophical method of Èjìgbèdè Ẹ̀kú in the contemporary Nigerian narrative film as case study of how contemporary African filmmakers, like their oral artiste counterparts, continue to articulate their inherited traditions via cinematic storytelling. In doing that I draw on what I call the (...) Ọ̀rúnmìliàn “parable of Eégún” (masquerade) to establish what I designate the philosophical/therapeutic questions of Èjìgbèdè Ẹ̀kú; and thus, argue that Èjìgbèdè Ẹ̀kú gives “presence to non-presence” so that the living/present can dialogue with the dead/past as a way of healing, re-moralizing, and/or decolonizing the living through cinematic storytelling. I conclude that Ọ̀rúnmìliàn film does not solely rekindle, and teach us, a valuable aesthetic practice of self-reflection or self-reevaluation but also decolonize and de-westernize film-philosophy. (shrink)

This article draws upon the work of Sylvia Wynter and W.E.B. Du Bois in order to propose that film-philosophy has historically not paid due attention to race. Drawing upon the former’s concept of “the sociogenic principle”, as well as the latter’s theories of “the colour line” and “double-consciousness”, the article argues that modernity has been constructed coterminously with whiteness, as well as a “photographic/cinematographic” logic whereby Blackness is cast into a “negative” realm. That is, while modernity might be white, (...) more specifically it is antiblack. For film-philosophy ethically to evolve, then, it must not just pursue a dewesternising turn to the global, as suggested by various scholars, but it must also reckon with antiblackness and the role that cinema has played in constructing and reaffirming a white (and therefore antiblack) world. By this token, recent engagements with objects and animals similarly do not often consider race as a structuring concept of and for the human, in distinction to which both objects and animals supposedly exist. Indeed, one might even construe the contemporary emphasis on objects and animals among primarily white western scholars as a refusal to consider race with the critical rigour that it merits. This article goes some way towards introducing such critical rigour as developed among scholars in critical race theory, in particular Black Studies, especially Du Bois and Wynter; and it proposes that the application of such work to film will radically alter how we consider the medium. In this way, the article draws out the (white) colour of film-philosophy, and argues for a racially conscious/conscientious film-philosophy that will thus be worthy of the name. (shrink)

Papers presented at the International Seminar on Film & Philosophy, held at Kozhikode during 26-30 September 2000.

Brian Butler Transgression: Ordinary and Otherwise _Film-Philosophy_, vol. 5 no. 22, July 2001.

For Plotinus, the nature and status of the human soul is one of the central problems of philosophy.Ennead IV.3­–4.29 constitutes his most penetrating enquiry into this topic, addressing the issues of the relation of the individual soul to the World Soul, the descent of the soul into body, its relations with that body, problems of personal identity and the nature of memory, sense perception, and the true seat of the emotions —many of which still have a resonance today. The (...) treatise is an excellent example of Plotinus' distinctive method of enquiry: not dogmatic (though he is no sceptic), but worrying away at questions until he has uncovered their complexities to the best of his ability. Such a work requires detailed commentary, such as is provided here, to tease out fully the fascinating convolutions of his thought. (shrink)

Plotinus' Treatise V.1 comes closer than any other to providing an outline of his entire spiritual and metaphysical system, and as such it may serve to some degree as an introduction to his philosophy. It addresses in condensed form a great many topics to which Plotinus elsewhere devotes extended discussion, including the problem of the multiple self; eternity and time; the unity-in-duality of intellect and the intelligible; and the derivation of intelligible being from the One. Above all, it shows (...) that the so-called "three hypostases"--soul, intellect, and the One--are best understood not as a sequence of three things additional to one another, but as three levels of possession of the same content, so that each lower level--soul in relation to intellect and intellect in relation to the One--is an "image" and "expression" of its superior. Plotinus exhorts the human soul to overcome its alienation from its own true nature and its divine origin by first recognizing itself as superior to the body and the same in kind as the animating principle of the entire cosmos, and then discovering within itself the still higher levels of reality from which it derives: intellect and, ultimately, the One or Good, the supreme first principle of all things. To do so the soul must redirect its attention inward and upward to become aware of the divinity which is always within it but from which it is distracted by the clamor of the senses. (shrink)

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...) presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)

In Ennead I.5 Plotinus attempts to navigate a well-trodden path of inquiry by responding directly to a wide spectrum of popular theories on human flourishing, insisting emphatically that well-being belongs to the present moment. One of his central targets is Aristotle, who insisted that well-being be measured by "a complete life" or a life measured by virtue, a modus vivendi sustained via the development of appropriate habits (hexis) and the avoidance of misfortunes. At the same time the Hellenistic schools-with their (...) insistence that happiness is available to practitioners in the immediacy of the "now"-take pride of place in Plotinus' short screed on the subject. This treatment provides an in-depth analysis of Plotinus' unique conception of the value of the present moment by highlighting Plotinus' dialogue with Aristotle and Hellenistic conceptions of the soul, pleasure and pain, and time and eternity. (shrink)

Held on Monday 12th October 2009, 5.30 - 7.00 pm, University of St Andrews, Scotland. Participants Dr Robert Sinnerbrink (Philosophy, Macquarie University, Sydney, Australia) Dr John Mullarkey (Philosophy, University of Dundee) Professor Berys Gaut (Philosophy, University of St Andrews) Dr David Martin-Jones (Film Studies, University of St Andrews) Dr William Brown (Film Studies, University of St Andrews)Over the course of at least the last hundred years the intellectual study of cinema has experienced a number of shifts towards (...) and away from theoretical or philosophical attempts to understand the moving image. The twenty-first century sees film-philosophy resurgent, in part due to the interest in cinema that has flourished recently in disciplines like philosophy, and in part due to the interdisciplinary nature of Film Studies. At a time when it is increasingly in vogue to return to theoretical questions previously pushed off the agenda by the dominance of historical approaches to cinema, such as the perennial "What is Cinema?", we are taking this opportunity to ask, "What is Film-Philosophy?" In a context that is witnessing the rise of digital cinema, the global dominance of multi-national media conglomerates, and the worldwide spread of "world cinemas", what role does theory or philosophy play in helping us understand cinema, and indeed, what role can cinema play in transforming philosophy? [The audio recording is of variable quality as we have had to remove a lot of background hiss and static. Please accept our apologies] Thanks to Rachel Brewster at Liverpool John Moores University for extracting the original audio. (shrink)

'Young People and Social Media: Contemporary Children's Digital Culture' explores the practices, relationships, consequences, benefits, and outcomes of children's experiences with, on, and through social media by bringing together a vast array of different ideas about childhood, youth, and young people's lives. These ideas are drawn from scholars working in a variety of disciplines, and rather than just describing the social construction of childhood or an understanding of children's lives, this collection seeks to encapsulate not only how young people exist (...) on social media but also how their physical lives are impacted by their presence on social media.One of the aims of this volume in exploring youth interaction with social media is to unpack the structuring of digital technologies in terms of how young people access the technology to use it as a means of communication, a platform for identification, and a tool for participation in their larger social world. During longstanding and continued experience in the broad field of youth and digital culture, we have come to realize that not only is the subject matter increasing in importance at an immeasurable rate, but the amount of textbooks and/or edited collections has lagged behind considerably. There is a lack of sources that fully encapsulate the canon of texts for the discipline or the rich diversity and complexity of overlapping subject areas that create the fertile ground for studying young people's lives and culture. The editors hope that this text will occupy some of that void and act as a catalyst for future interdisciplinary collections.'Young People and Social Media: Contemporary Children's Digital Culture' will appeal to undergraduate students studying Child and Youth Studies and-given the interdisciplinary nature of the collection- scholars, researchers and students at all levels working in anthropology, psychology, sociology, communication studies, cultural studies, media studies, education, and human rights, among others. Practitioners in these fields will also find this collection of particular interest. (shrink)

Vier Leitkonzepte der Film-Philosophie werden vorgestellt: der Affekt, die Agentur, die Aufhebung und das Außen. Entwickelt und erprobt werden diese Konzepte in der Auseinandersetzung mit verschiedenen Filmen, insbesondere mit einer der spektakulärsten Filminstallationen der letzten Jahre, Christian Marclays”The Clock“. Film-Philosophie hat es mit zweierlei Problemstellung zu tun. Zum einen mit Fragen, die den Status des bewegten Bildes als eines eigenwilligen Gegenstands der Wahrnehmung und der Erfahrung betreffen sowie die Natur des kinematographischen Raums und der filmischen Zeit, die Spezifik der filmischen (...) Logik oder der audiovisuellen Argumentation. Zum anderen mit weiter ausgreifenden Fragen, wie derjenigen nach dem Menschen, nach dem Ästhetischen, nach dem Wissen oder der Geschichte, nach der Ordnung der Dinge. Am Kreuzungspunkt dieser beiden Tendenzen sind die hier versammelten Essays und ihre Leitkonzepte situiert. (shrink)

Introduction -- Chapter 1: Digital cinema's conquest of space -- Chapter 2: The nonanthropocentric character of digital cinema -- Chapter 3: From temporalities to time in digital cinema -- Chapter 4: The film-spectator-world assemblage -- Chapter 5: Concluding with love.

This article explores the affinities between film and philosophy by returning to a shared meditation on death and the nature of time. Death has been considered the muse of philosophy and can also be considered the muse of film-philosophy. But what does it mean to say that to film-philosophise is to learn to die, or a kind of training for dying? Film is an artistic object that reminds us of death’s inevitability; it is a meditation on the (...) transient and finite nature of time. Films as diverse as Mizoguchi’s Tales of Ugetsu, Resnais’s Hiroshima mon Amour, and Guzmán’s Nostalgia for the Light take an uncanny approach to the subject, expressing the paradoxical coexistence of life and death and of different temporal dimensions. This article explores the philosophical concept of the death-image and time through a Deleuzian approach to cinema, meditating on the flashback, the coexistence of the present and the past, and the emergence of a new type of Lazarean character – one who returns from the dead. The article aims to clarify not simply death’s unquestionable omnipresence in film but also cinema’s role as a contemporary version of the trope of memento mori. (shrink)

New Takes in Film-Philosophy offers a space for the advancement of the film-philosophy debate by some of its major figures. Fifteen leading academics from Philosophy and Film Studies develop new approaches to film-philosophy, broaden theoretical analyses of the topic and map out problems and possibilities for its future. The collection examines theoretical issues about the relationship between film and philosophy; looks at the relationships film-philosophy has to other media such as photography and literature; and (...) applies theoretical approaches to particular films and directors. Written in a clear style that assumes no previous knowledge of any particular philosopher, this collection will appeal to advanced students and scholars in philosophy, film studies, cultural studies, media studies and the arts. _. (shrink)

L'histoire de la philosophie a toujours vu en Plotin un metaphysicien. Porphyre ne dit-il pas de son maitre qu'il connaissait parfaitement la geometrie, l'arithmetique, la mecanique, l'optique et la musique, mais qu'il n'etait pas enclin a approfondir davantage ces disciplines? Ce peu de gout pour les mathematiques et la physique n'a pourtant pas empeche Plotin de rediger quelques traites exclusivement connsacres a des questions de physique et de cosmologie, traites qui furent les grands oublies des etudes neioplatoniciennes. Parmi ceux-ci, le (...) traite Sur le ciel est d'une importance capitale aussi bien en raison du sujet qu'il aborde que du debat philosophique qu'il engage avec la tradition. La vision plotinienne du monde et du ciel doit en effet trouver sa place au sein des theories cosmologiques dominantes de son epoque: celles transmises par le Timee de Platon, le De Caelo d'Aristote et la vision stoicienne de l'univers. Il va sans dire que Plotin se veut un exegete des doctrines platoniciennes, mais le present traite montre peut-etre plus que tout autre la difficile cohabitation de l'independance d'esprit et de la fidelite aux textes du maitre. Ce qui se presente comme une exegese du Timee devient en fait une trahison des enseignements qui y sont contenus. Le traite II, 1 [40] fut le theatre d'une rebellion, celle d'un interprete platonicinen qui tente de lire dans le Timee une theorie qui ne s'y trouve pas. (shrink)

Les quatre chapitres de cette étude sont intitulés : le système des hypostases; la matière intelligente; la matière sensible; le monde sensible. [SDM].

Teilband 1. Schriften 1-38 -- Teilband 2. Schriften 39-54, Porphyrios: Über Plotins Leben.

Le commentaire constitue, outre une synthèse, un éclaircissement méthodique de la métaphysique et de la mystique plotinienne.

This book presents a powerful new film-philosophy through the cinema of Iranian director Abbas Kiarostami. Mathew Abbott argues that Kiarostami's films carry out cinematic thinking: they do not just illustrate pre-existing philosophical ideas, but do real philosophical work. Crossing the divide between analytic and continental philosophy, he draws on Ludwig Wittgenstein, Stanley Cavell, John McDowell, Alice Crary, Noël Carroll, Giorgio Agamben and Martin Heidegger, bringing out the thinking at work in Kiarostami's later films: Taste of Cherry, The Wind (...) Will Carry Us, ABC Africa, Ten, Five, Shirin, Certified Copy, and Like Someone in Love"--Back cover. (shrink)

Jeffrey T. Dean Getting a Good View of Depiction _Film-Philosophy_, vol. 3 no. 26, June 1999.

The article starts from Gilles Deleuze’s assumption of film being a philosophy in its own right and applies it to the horror genre. It reads Stanley Cavell’s concept of genre, Timothy Jay Walker’s work on the Horror of the Other (1) and Eugene Thacker’s understanding of philosophical horror (2). It researches horror film as philosophically relevant access to nothingness (3) and shifts to the operations of assigning places to nothingness according to its respective place of access (off screen, on (...) screen, behind the screen/behind the camera) (4). It then gives short analyses of Midsommar (5), Hereditary (6), Tarantula (7), and The Conjuring (8). In Tarantula, the screen functions as a shield against the agent of nothingness residing behind it. Once surmounted from behind by nothingness, the screen is finally purged. In Hereditary and Midsommar, nothingness is always already here, in full light, constantly transforming everything into nothing. In The Conjuring, the morphings and vectorial movements have nothingness evaporate from the screen to what lies behind it, namely (digital) picture technology. The screen turns into a membrane between nothingness and its condition, technology. As a consequence, we have to switch from philosophical horror to technological horror as access to nothingness (9). (shrink)

Focusing on a recent wave of international art cinema, Animal Worldsoffers the first sustained analysis of the relations between cinematic time and animal life. Through an aesthetic of extended duration, films such as Bestiaire(2010), The Turin Horse(2011) and A Cow's Life(2012) attend to animal worlds of sentience and perception, while registering the governing of life through biopolitical regimes. Bringing together Gilles Deleuze's writings on cinema and on animals - while drawing on Jacques Derrida, Jean-Christophe Bailly, Nicole Shukin and others - (...) the book argues that these films question the biopolitical reduction of animal life to forms of capital, opening up realms of virtuality, becoming and alternative political futures. (shrink)

Qu'est-ce qui permet de juger de la qualité d'un film? Sur quels critères? Cette question fait écho à la question plus générale du beau dans l'art : qu'est-ce que le beau? Cet ouvrage tente d'y répondre en proposant une réflexion sur ce qui fait la valeur d'un film et sur la façon de l'estimer. Contextes artistique et sociopolitique, référents cinématographiques et historiques sont bien entendu des débuts de réponse, mais l'auteur nous apprend surtout qu'il n'y pas de "bons films" ou (...) de "beaux films", c'est-à-dire des films qui posséderaient une valeur et d'autres pas.0Selon lui, tous les films ont une valeur dès lors qu'ils impactent notre vie d'une façon ou d'une autre. Pour étayer son propos, l'auteur s'appuie sur une analyse philosophique des concepts abstraits et subjectifs du "jugement", du "goût" et de la "valeur", ainsi que sur une analyse factuelle basée sur de nombreux exemples de films. (shrink)

Plotinus, the founder of the Neoplatonic school of philosophy, conceptualises two different notions of self : the corporeal and the rational. Personality and imperfection mark the former, while goodness and a striving for understanding mark the latter. In this text, Dr Remes grounds the two selfhoods in deep-seated Platonic ontological commitments, following their manifestations, interrelations and sometimes uneasy coexistence in philosophical psychology, emotional therapy and ethics. Plotinus' interest lies in what it means for a human being to be a (...) temporal and a corporeal thing, yet capable of abstract and impartial reasoning, of self-government and perhaps even invulnerability. The book argues that this involves a philosophically problematic rupture within humanity which is, however, alleviated by the psychological similarities and points of contact between the two aspects of the self. The purpose of life is the cultivation of the latter aspect, the true self. (shrink)

In Art of the Ordinary, Deming brings together the arts, philosophy, and psychology in new and compelling ways so as to offer generative, provocative insights into how we think and represent the world to others as well as to ourselves.

Ennead VI.7, the thirty-eighth treatise in order of composition, opens with a sustained attack on the idea that the form and function of various animal organs are the result of divine forethought and deliberation. In the first three chapters of the treatise, Plotinus argues that no formulation of the notion of deliberation can be made consistent with the facts about the nature of the intelligible2 and its priority over the physical world. As has been noted in the past,3 Plotinus's arguments (...) against the Platonic idea that teleological thinking is a genuine cause in the sphere of biology can also be taken, from the standpoint of his own philosophical principles, to be effective against an Aristotelian .. (shrink)