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)

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)

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)

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)

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.

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.

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)

Academic philosophy may have lost its audience, but the traditional subjects of philosophy--love, death, justice, knowledge, and faith--remain as compelling as ever. To reach a new generation, Paul W. Kahn argues that philosophy must take up these fundamental concerns as we find them in contemporary culture. He demonstrates how this can be achieved through a turn to popular film. Discussing such well-known movies as _Forrest Gump_ (1994), _The American President_ (1995), _The Matrix_ (1999), _Memento_ (2000), _The History of Violence_ (2005), (...) _Gran Torino_ (2008), _The Dark Knight_ (2008), _The Road_ (2009), and _Avata_r (2009), Kahn explores powerful archetypes and their hold on us. His inquiry proceeds in two parts. First, he uses film to explore the nature of action and interpretation, arguing that narrative is the critical concept for understanding both. Second, he explores the narratives of politics, family, and faith as they appear in popular films. Engaging with genres as diverse as romantic comedy, slasher film, and pornography, Kahn explores the social imaginary through which we create and maintain a meaningful world. He finds in popular films a new setting for a philosophical inquiry into the timeless themes of sacrifice, innocence, rebirth, law, and love. (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 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)

The aim and objective of this study is to analyse the causes of domestic violence against married women in Pakistan providing a complete picture of understanding on the phenomenon. This study was conducted in Safoora Goth, Karachi one of the oldest residential centre of Karachi where all local ethnic groups and class of people are inhabited. The factors included in the study were various reasons of domestic violence, nature of domestic violence, types of domestic violence, separation, (...) and feeling of deprivation, husband drug addiction, partner violence, family system, family economic, ages of women and all other such related causes regarding domestic violence. The universe of the study was Safoora Goth, Karachi. The calculated sample size was 313 respondents in which researcher selected simple random sampling technique. The tool for the data collection was a questionnaire. Hypotheses were tested statistically among 5 hypotheses all have gotten accepted and showed the result as there are various causes of domestic violence. Thus, the researcher concluded that family system, family income and husband drug addiction are related to the domestic violence in a great deal. (shrink)

This project attempts a joint reading of the work of Friedrich Nietzsche and Frantz Fanon. This task, however, is problematic because this body of work is in tension or contradictory. These problems are so acute that a careful reading method is necessary to successfully carry out this reading. In order to facilitate this reading I elaborate and apply a particular philosophical methodology, Mestizaje. The methodology is intended to address works that are contradictory by attempting to read the texts as they (...) are presented while at the same time balancing their positions. The goal is to honestly reflect the thought of each thinker and to illuminate a perspective that incorporates but transcends their respective positions. What the application of Methodological Mestizaje finds is that while Nietzsche and Fanon stand in tension to one another, their respective works share several interesting and important convergences. In particular, they share thoughts on ressentiment, morality and violence. With ressentiment, Nietzsche creates the concept and two manifestations of it, while Fanon works with the concept to develop a third manifestation of this form of moral valuation. Furthermore, their works share the view that morality and violence are fundamental to understanding the origin, development and possible overcoming of a morality. This work contributes to the area of Africana Studies by offering a picture of Nietzsche that addresses concerns of these areas of study. Additionally, Methodological Mestizaje intends to follow in the tradition of non-ideal theory. Finally, while each thinker contributes to the discussion of ressentiment, morality and violence, their positions taken together reveal a broad and thorough perspective on colonialism and its concomitant morality, including their inception, and consequent progression and persistence in the current world. (shrink)

The article addresses the question when the advocacy of forgiveness in the wake of political mass violence can be harmful and immoral. It engages with this question primarily by probing the value of different pictures of forgiveness, most importantly Rembrandt’s painting Return of the Prodigal Son and a photograph from post-genocide Rwanda. The critical examination of the value of particular pictures in the advocacy of forgiveness also involves attention to particularly problematic ‘pictures’ (in the sense of notions, imaginaries, representations) (...) of the unforgiving victim, of the choices available to societies responding to a violent past, and of unconditional forgiving. (shrink)

This article examines the concept of existence underlying Carl Schmitt’s political philosophy—a concept is that Heidegger largely shares. Can such a conception do justice to our political life? Or is it, in fact, inimical to it? The crucial issue here is that of political identity and the role that violence plays in its formation. The article concludes by examining Jan Patočka’s account of existence as motion and applying it to our political commitments.

Words like "terrorism" and "war" no longer encompass the scope of contemporary violence. With this explosive book, Adriana Cavarero, one of the world's most provocative feminist theorists and political philosophers, effectively renders such terms obsolete. She introduces a new word—"horrorism"—to capture the experience of violence. Unlike terror, horrorism is a form of violation grounded in the offense of disfiguration and massacre. Numerous outbursts of violence fall within Cavarero's category of horrorism, especially when the phenomenology of violence (...) is considered from the perspective of the victim rather than that of the warrior. Cavarero locates horrorism in the philosophical, political, literary, and artistic representations of defenseless and vulnerable victims. She considers both terror and horror on the battlefields of the _Iliad_, in the decapitation of Medusa, and in the murder of Medea's children. In the modern arena, she forges a link between horror, extermination, and massacre, especially the Nazi death camps, and revisits the work of Primo Levi, Hannah Arendt's thesis on totalitarianism, and Arendt's debate with Georges Bataille on the estheticization of violence and cruelty. In applying the horroristic paradigm to the current phenomena of suicide bombers, torturers, and hypertechnological warfare, Cavarero integrates Susan Sontag's views on photography and the eroticization of horror, as well as ideas on violence and the state advanced by Thomas Hobbes and Carl Schmitt. Through her searing analysis, Caverero proves that violence against the helpless claims a specific vocabulary, one that has been known for millennia, and not just to the Western tradition. Where common language fails to form a picture of atrocity, horrorism paints a brilliant portrait of its vivid reality. (shrink)

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

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 21-38 MuseSearchJournalsThis JournalContents[Access article in PDF]Attractions to Violence and the Limits of EducationPaul DuncumThe effects of violent media fare upon young people are of great concern for educators and parents alike. Recently, some visual art educators have attempted to deal with the issue under the rubric of visual culture. 1 Adopting a critical position toward media violence, they have developed (...) programs that attempt to encourage in their students a view of citizenship that rejects an easy use of violence as the solution to resolving real life issues. In consideration of these attempts, this article examines media violence—not to comment upon the efforts of other art educators but to point to the exceptionally difficult, perhaps intractable, forces faced by any form of educational intervention.There can be no doubting that violence—defined as involving intentional physical harm—is highly popular in mass media entertainment and is increasingly gory. Tartar refers to Shakespeare's term "violent delights" 2 as an oxymoron, but delight in violence is exactly what many people appear to find. There appears to be no contradiction in Shakespeare's term—Shakespeare being no stranger to the idea—only a succinctly expressed observation of a particular taste that is both long-standing and nowadays evident in an increasingly visceral, violent mass media.This article addresses three questions: First, what is it about displays of violence that is so appealing? Where is the pleasure in watching bodies being blown apart? Where is the delight in watching barbarous torture, slaughter, and death? What is the lure, the attraction? Or, since one of my arguments will be that there are qualitatively different kinds of violence, is it more appropriate to ask what are the attractions of violence? Second, why are violent spectacles becoming more and more intense? Why are representations of violence becoming increasingly visceral? Third, what are we doing to ourselves by exposing ourselves to so much violent mass media? [End Page 21] What is the societal significance, the real world consequences, of being attracted to violent imagery?There are many kinds of violent spectacles. This article deals exclusively with violence in current mediated popular forms of entertainment, principally television, film, video, and computer games. It is not narrowly concerned with intentionally aestheticized images, for example, through the use of slow motion or when the soundtrack to images of mass slaughter switches from the mayhem on screen to the souring beauties of operatic singing. Such images are included here, but the article deals with an inclusive range of representations of violence typically found in some degree to be pleasurable by large sections of the public. Specifically, four kinds of violence are examined: comic, transgressive, retaliatory, and gratuitous.Of course, not everyone is attracted to violence, and most popular entertainment is not violent. 3 The best-selling video games are violent, 4 but violent films and videos are far outweighed by nonviolent fare, especially comedies. 5 Nevertheless, much media fare is violent. Studies conducted in the mid-to-late 1990s concluded that 60 percent of U.S. television programs contained violence, 40 percent of which was offered as humorous. 6 By the age of eighteen a child has seen around 200,000 violent acts on television, including 40,000 murders. 7 This includes 3 to 5 violent acts per hour on prime time and 20 to 25 per hour during Saturday morning cartoons.Sensory AttractionProfessional critics of film and video often talk about the aesthetic qualities of media violence—for example, of "balletic spectacle" and "orgiastic energy." 8 The New York Times film critic's review of Sam Peckinpah's 1969 film The Wild Bunch, a milestone in cinematic violence, wrote of the climatic massacre as a "blood ballet" and that the director "first highlights the horror of the mindless slaughter and then—and this is what really carries horror—makes it beautiful, almost abstract." 9 Virtually the same words were used recently by eminent U.S. film critic Roger Ebert with regard to Tarrantino's exceptionally... (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)

Words like "terrorism" and "war" no longer encompass the scope of contemporary violence. With this explosive book, Adriana Cavarero, one of the world's most provocative feminist theorists and political philosophers, effectively renders such terms obsolete. She introduces a new word—"horrorism"—to capture the experience of violence. Unlike terror, horrorism is a form of violation grounded in the offense of disfiguration and massacre. Numerous outbursts of violence fall within Cavarero's category of horrorism, especially when the phenomenology of violence (...) is considered from the perspective of the victim rather than that of the warrior. Cavarero locates horrorism in the philosophical, political, literary, and artistic representations of defenseless and vulnerable victims. She considers both terror and horror on the battlefields of the _Iliad_, in the decapitation of Medusa, and in the murder of Medea's children. In the modern arena, she forges a link between horror, extermination, and massacre, especially the Nazi death camps, and revisits the work of Primo Levi, Hannah Arendt's thesis on totalitarianism, and Arendt's debate with Georges Bataille on the estheticization of violence and cruelty. In applying the horroristic paradigm to the current phenomena of suicide bombers, torturers, and hypertechnological warfare, Cavarero integrates Susan Sontag's views on photography and the eroticization of horror, as well as ideas on violence and the state advanced by Thomas Hobbes and Carl Schmitt. Through her searing analysis, Caverero proves that violence against the helpless claims a specific vocabulary, one that has been known for millennia, and not just to the Western tradition. Where common language fails to form a picture of atrocity, horrorism paints a brilliant portrait of its vivid reality. (shrink)

This article places Hannah Arendt’s fundamental view of the instrumentality of violence in dialogue with Walter Benjamin’s ‘Critique of Violence’ in order to demonstrate the importance for each of a notion of ‘mere life’ or ‘life itself’ to an understanding of the agency of violence in modernity. Arendt’s critique of vitalism is most fully developed in The Human Condition, where she describes an entanglement of the instrumental activity of homo faber with life and labour in the work (...) of Bergson, Nietzsche and Marx. I suggest that Bergson’s treatment of life as creative evolution unexpectedly yields an accurate description of politics as spontaneous, unpredictable motion that Arendt takes as typical of modernity. Since Arendt also credits Bergson with a decisive influence on what she takes to be a growing commitment to the life-enhancing, creative potential of violence in the oppositional movements of the 1960s, which she explores in her late essay, On Violence, I trace out the continuity between Arendt’s earlier account of homo faber and her later critique of postmodern oppositional violence. (shrink)

Many studies require standardized and replicable protocols composed of emotional stimuli. To this aim, several databases of emotional pictures are available. However, there are only few images directly depicting interpersonal violence, which is a specific emotion evocative stimulus for research on aggressive behavior or post-traumatic stress disorder. The objective of the current study is to provide a new set of standardized stimuli containing images depicting interpersonal situations. This will allow a sensitive assessment of a wide range of cognitions linked (...) to social interaction. To this aim, 240 participants rated the valence and arousal of 79 pictures collected from online sources in 2018. Results showed a distinctive pattern of valence and arousal regarding the picture content and specific associations between those two dimensions. Taken together, these results suggest a good reliability of the selected images. In conclusion, our study provides an open access set of recent pictures depicting interpersonal situations along with normative valence and arousal ratings, that are available for download from: https://osf.io/ak4m7/?view_only=None. (shrink)

This paper is unusual for this journal because most readers do not deal professionally with animals. Information from primatology, however, is relevant to consideration of violence between people. I will focus mainly on aggression and peacemaking among nonhuman primates, but will address related topics as well. I do not use the term “aggression” to refer only to violent behavior, but to any overt conflict between individuals. Although I am a professor of psychology, I am a biologist by training. When (...) I was a student many years ago, the major scholarly work on this topic was Konrad Lorenz’s On Aggression. It set into motion contemporary research on aggression from a biological perspective by making the controversial claim that aggression is an instinct not only in animals, but also in human beings. My own research and that of others suggests a slightly different view, namely, that aggression between individuals is a last resort when conflict resolution fails. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:DEAD MAN WALKING: ON THE CINEMATIC TREATMENT OF LICENSED PUBLIC KILLING Edmund Arens University ofLucerne I regret that so many people do not understand, but I know that they have not watched the state imitate the violence they so abhor. (Sister Helen Prejean) ~T\eadMan Walking, thehighlyacclaimed second film directed by Tim -Z-^Robbins, seems appropriate for discussion in the symposium's context oíFilm andModernity: Violence, Sacrifice andReligion. This film (...) on the one hand thematizes different forms ofviolence and victimization; on the other hand it presents divergent forms ofreligion. And it does so in a way which not only demonstrates the interplay of violence and religion but also opens up the chance of transcending various kinds of sacrificial structures inhabiting that interplay. We can approach DeadMan Walking in five steps. After some general remarks about this film as a work of art, I will briefly review the story line. In the part called Themes and Topics, I will outline some of the predominant topics addressed in this movie. The fourth step is devoted to the interrelation of Violence, Victimization and Redemption. Finally, the religious or theological question comes into view under the heading of Proximity and Testimony, an aspect which at the same time has a definite link to law and the legal system. I. DeadMan Walking as a Work of Art According to Susan Sontag, film "currently is the most vivid, the most stimulating, and the most important of all genres of art" (Sontag 13). But Edmund Arens15 whether a particular film really can be considered as a work of art depends on a number of presuppositions, a few of which I shall mention here. Without going too deeply into the debate on the nature and purpose of aesthetic production, there are at least some requirements which point to a work ofart. Roughly speaking, it is defined by putting matter and form into a certain relation, by creating or producing a certain structure, by adopting a certain style and by organizing the material by means ofgenres (all ofwhich relates to the classical notion of poesis). Secondly, a work of art deals with perception in a double way: while it implies a certain perception ofreality, it also invites the audience to participate in this perception and thus to deepen, alter, or correct the perception that they experienced (something which relates to aisthesis). Thirdly, art aims at having certain emotional effects on the public that are either purifying or edifying (something which since Aristotle has been discussed as katharsis). Ifthese three dimensions (cf. Jauss; Siller) are always involved in works ofart, we can ask how in DeadMan Walking the interplay ofpoesis, aisthesis, and katharsis is at work. Under certain conditions a film is a creative work ofart. In this case, the motion picture, whether documentary or fictitious, includes an aesthetic creation of an imagined reality. It does not simply mirror reality but always reconstructs or reshapes it. In fictional film narrative, everyday reality is disrupted and rearranged by means of a variety of formal and material techniques. The treatment of reality necessarily involves the question of representation. What Paul Ricoeur considered as decisive for narrative fiction, applies to narrative fiction films as well: they make use of "calculated dissonance" which disrupts everyday reality and thereby points to a "redescription ofreality" (Ricoeur 1975; 1976; 1986). We shall see later on how this process, attributed especially to certain metaphors, works in the case ofDeadMan Walking. Besides the topic ofrepresentation, any kind of art raises the question of perception. Art implies a certain perception and at the same time it offers or invites—in the case of visual art—the audience to perceive reality in a different or deeper manner. In amovie the audience, whether by a manipulative "aesthetics of overwhelming"1 or by an aesthetics of disclosing, is moved emotionally and imaginatively, the aim being to direct their attention to the secret ofthe things shown and thus to direct or redirect their view ofreality. From the point of view of a pragmatic theory of action (cf. Arens 1994; 1997b) which additionally takes up Ricoeur's most important insights, I would 'The term has been coined by Heiner Müller; quoted from Kirsner... (shrink)

The System of Existential Graphs may be characterized with great truth as presenting before our eyes a moving picture of thought. Provided this characterization be taken not as a flatly literal statement, but as a simile, it will, I venture to predict, surprise you to find what a strain of detailed comparison it will bear without snapping.Peirce once called his graphical system of logic—the Existential Graphs or EGs—the moving pictures of thought. In this essay, I argue that Peirce meant that (...) using his graphs to study the movement of thought is akin to Eadweard Muybridge’s use of moving pictures to study animal motion, and I show that this analogy is highly apt for several reasons. The analogy is apt because:... (shrink)

Most analyses of violence in the different historical periods tend to view the modern era as significantly less violent than all of its historical predecessors. By focusing on such apparently reliable indicators as the decrease in homicide rates, the disappearance of public torture or growing civility in inter-personal relationships, many authors contend that our ancestors inhabited a substantially more violent world. In this article, I argue that since such blanket evaluations do not clearly distinguish between different levels of (...) class='Hi'>violence analysis, they are unable to provide an accurate picture of historical reality. To properly understand violence, it is necessary to compare and contrast its historical transformation at the interpersonal and intra-group (micro), the inter-group and intra-polity (mezzo), and inter-polity (macro) levels. When violence is comparatively analysed on these three interrelated levels, it becomes clear that the scale of collective brutality gradually and dramatically increases with the rise of modern social organizations and ideologies while the character of inter-personal and intra-group violence remains essentially constant. (shrink)

Radical democrats highlight dramatic moments of political action, which disrupt everyday habits of perception that sustain unequal social relations. In doing so, however, we sometimes neglect how social conditions—such as precarious employment, social dislocation, and everyday exposure to violence—undermine political agency or might be contested in uneventful ways. Despite their differences, two thinkers who have significantly influenced radical democratic theory (Hannah Arendt and Jacques Rancière) have been similarly criticized for contributing to such a socially weightless picture of politics. However, (...) attending to how they are each preoccupied by the social conditions of inequality and loneliness enables us to recognize two distinct aspects of democratic politics–emancipation and civility. Cultivating an interpretive flexibility to shift between these aspects of politics might enable radical democrats to more clearly picture how struggles for appearance are limited and shaped by the social conditions within which they are enacted. (shrink)

Servius was surely not the first to show discomfort with Vergil's choice of the word violaverit. Observing that the simile in lines 67–8 derives from Homer , he seems to be apologizing for Vergil when he explains that the poet's violaverit translates Homer's νινη. And discomfort there should be. The notion of ‘tainting, spoiling, damaging, defiling’ that violare should carry seems out of place both for the ivory-image and for the picture of the beautiful girl. Modern commentators have been no (...) less troubled than Servius. Unwilling, however, to see Vergil as blindly enslaved to Homer, they have offered another explanation: violare here is tied to the violentia of her lover Turnus. ‘Vergil connects the violentia of Turnus with the staining of the ivory in the simile used to describe Lavinia's blush.’ should like to add a third explanation for Vergil's choice of violare. (shrink)

During the 1980's and the early 1990's South Africa experienced disturbing political violence of an unprecedented scope, intensity and nature. It was disturbing because it entailed acts of horrifying brutality, notably the ‘necklace' and the massacre, all of this against the background of ‘civilized' and measured com promise and negotiation. It stubbornly continued despite the unbanning of the liberation political organisations, and the holding of ‘free and fair' elections in April 1994. And it was unprecedented in a whole range (...) of ways, but mainly because of the fact that it was intracommunal, or black- on- black, violence. It was the first time that Black political organisations had turned on each other rather than their white oppressors. For our purposes, what is interesting is the range of responses emanating from South African social scientists in explaining this new phenomenon. Historically, explaining Black political violence in South Africa has had a difficult time of it. Starting with Pierre van den Berghe in 1962, predictions of imminent revolution against the apartheid regime have been so regularly and frequently proved wrong, that a whole industry has arisen in explaining quiescence rather than violence. The first cluster of theories spawned by the 1976 schools uprising, as Frank Molteno noted in his 1979 review, were analytically disappointing, if not crudely racist. Subsequent overviews by Manganyi & du Toit in 1990, and Beinart in 1992 have born evidence of considerably greater sophistication.; Manganyi, N & A du Toit, ; Beinart, W ). Nevertheless, as I shall show, most have remained within quite conventional theoretical and structuralist parameters. Many have their roots in the earlier dominant Marxism of the 1970's. In this sense they tend towards structural and class determinism, towards absolutist notions of power, and absolutist moral judgement of both apartheid and the individuals associated, however indirectly, with it. In consequence, Black incumbents of apartheid structures were inevitably depicted as willess and powerless puppets dancing to the tune of omnipotent White masters. In this context, it was wrong to talk of black- on- black violence, since one side of this equation, in reality, represented white interests. Much of this analysis also started from quite easy notions of the origins of violence. In this view it was sufficient to show conflicts of interest, or contra diction, in order to conclude that violence had been adequately explained. Against this background the more hermeneutic contribution by André du Toit to the debate stands out as theoretically innovative, nuanced and bold. This is not to say that it is with out problems. But I do wish to present a picture of a social theorist of considerable imagination and subtletly. Looking back over these theories, it would be tempting to say that the first category of structuralist accounts, should be supplemented with the second category of hermeneutic, accounts. But simply adding theoretically discrepant accounts together is too easy. It is only when the whole notion of structure, employed in the first category, is rethought in post-structuralist form, that an integration of the two elements becomes feasible. This paper follows a Giddensian line in pursuing this reconceptualization. (shrink)

Expecting Saving Mr. Banks to be a jolly jaunt about the creative development of the movie Mary Poppins (1964), I found myself waiting endlessly for the “jolliness” to begin—it never did. In fact, rather than joy, there was an ever-present sensation of tension as I watched the film. Having moved house myself in recent days (during a Queensland heat wave), the scenes of the Goff family leaving their home and trekking across hot, dusty Queensland were very emotional. However, seeing the (...) family patriarch Travers Goff (played by Colin Farrell) swig from an alcohol flask in a desperate manner told me that his was no “routine” family move. And, certainly, arriving at their destination—a dilapidated ranch home—shed even more light on the Goff family’s predicament: alcoholism and the cycle of employment and unemployment. Further, it is the downstream consequences of the family predicament that fuel the identity and behaviour of Mary Poppins—a fictional character created by Travers’ daughter, a. (shrink)

This article examines the treatment of women in flight from domestic violence at the U.S. – Mexico border. It compares the robust state protections available to domestic violence victims in the interior of the country with the hostile landscape women encounter at the border. The article draws on three sources for information about the treatment at the border of domestic violence victims: an in-depth case study of one woman’s experience of domestic violence and flight, a small (...) data set of domestic violence victims detained in the Eloy Detention Center in Arizona during 2010 and 2011, and a detailed analysis of the policies and practices at play when a woman in flight from domestic violence comes to the U.S. border. From these sources, a grim picture emerges that may surprise many. Women fleeing violence whose lives entangle with the border confront a bureaucracy and justice system that harkens back to the time, 50 years ago, when domestic violence was seen as a private matter about which there was little the government could or should do to respond.Building on this descriptive account, the article draws on political theories of citizenship and membership to highlight the moral and legal inconsistencies between the immigration policies of the United States and its national values and commitments regarding violence against women. It suggests that language about the “private” nature of the violence at issue for women in flight from domestic violence should not be used to cloak underlying concerns about immigration admissions policies. Transparent discussion of the considerations at issue lays bare the irrationality of applying fundamentally different conceptions of domestic violence depending on which side of the geographic border it occurs. (shrink)

In this ground-breaking work, Deborah Cowen makes the first book-length critical intervention into the field of business logistics. Tracing the social, spatial and political transformations wrought by the ‘logistics revolution’, Cowen argues that logistical systems have blurred the boundaries between production and circulation, civilian and military life, and geopolitics and geo-economics, constructing an architecture of the supply chain animated by both the art of war and the science of business. This review considers the political stakes of Cowen’s argument that logistics (...) has reconfigured capitalist social relations of production, especially in relation to the securitisation of spatial mobility and the restructuring of the labour process. In particular, Cowen’s wager that logistical supply-chains are characterised by their vulnerability – and that attendant possibilities for building solidarity emerge out of movements that disrupt such flows – is interrogated in order to question whether such interruptions effectively produce challenges to value-in-motion, or actually become integral to processes of value production. (shrink)

This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion of pure memory-time (...) entails ipso facto a critique of an influential idea of musical motion, which has been recurring in the work of some major philosophers of music up until the present day. The article connects Wittgenstein’s critical remarks on the confused foundations of such “Augustinian Picture of Music” with his emphasis on the notion of phrasing or characterization in language and music. Wittgenstein’s reversal of Augustinian priorities regarding musical time brings to surface the particularity of expression and the aesthetically “right” in music, evoked by Wittgenstein’s remarks on simultaneity and tempo in music and language. Wittgenstein renders musical simultaneity as enabled by a “protocol” which inheres in musizieren, in the aptly collaborative quest for drawing in significance by means of the phrasing and re-phrasing of a passage in order to characterize it, enabling by means of such comparative investigation meaningful distinctions between right and wrong. (shrink)

This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion of pure memory-time (...) entails ipso facto a critique of an influential idea of musical motion, which has been recurring in the work of some major philosophers of music up until the present day. The article connects Wittgenstein’s critical remarks on the confused foundations of such “Augustinian Picture of Music” with his emphasis on the notion of phrasing or characterization in language and music. Wittgenstein’s reversal of Augustinian priorities regarding musical time brings to surface the particularity of expression and the aesthetically “right” in music, evoked by Wittgenstein’s remarks on simultaneity and tempo in music and language. Wittgenstein renders musical simultaneity as enabled by a “protocol” which inheres in musizieren, in the aptly collaborative quest for drawing in significance by means of the phrasing and re-phrasing of a passage in order to characterize it, enabling by means of such comparative investigation meaningful distinctions between right and wrong. (shrink)

_Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.

In the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon (...) the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day. (shrink)

Documenting the dark side : fictional and documentary treatments of torture and the 'war on terror' -- History lessons : what audiences (could) learn about genocide from historical drama -- The art of disappearance : remembering political violence in Argentina and Chile -- Uninvited visitors : immigration, detention and deportation in science fiction -- Architectures of enmity : the Israeli-Palestinian conflict through a cinematic lens.

The impetus theory of motion states that to be in motion is to have a non-zero velocity. The at-at theory of motion states that to be in motion is to be at different places at different times, which in classical physics is naturally understood as the reduction of velocities to position developments. I first defend the at-at theory against the criticism raised by Arntzenius that it renders determinism impossible. I then develop a novel impetus theory of (...) motion that reduces positions to velocity developments. As this impetus theory of motion is by construction a mirror image of the at-at theory of motion, I claim that the two theories of motion are in fact epistemically on par—despite the unfamiliar metaphysical picture of the world furnished by the impetus version. (shrink)

pt. II. Observation and recall as a function of age.--pt. III. Fidelity of report as a measure of adult intelligence.--pt. IV. The technique of mental-test surveys among adults.

Throughout his life J. J. Thomson was committed to a mechanical interpretation of nature. This work proceeded in several stages. Early in his career he attempted a Lagrangian formulation of mechanics. But due to certain epistemological difficulties with this approach, he began exploring various analogies and models, particularly those involving vortex motion. After his discovery of the electron in 1897, he commenced a synthesis of the electron with his previous physical conceptions. The result was a hypothesis of the ether (...) as being composed of particles even smaller than electrons. (shrink)

Science has made a mighty advance since it originated in ancient Greece more than 2500 years ago. Yet we still live in Plato's cave today; we think everything around us moves continuously, but continuous motion is merely a shadow of real motion. This book will lead you to walk out the cave along a logical and comprehensible road. After passing Zeno's arrow, Newton's inertia, Einstein's light, and Schrodinger's cat, you will reach the real world, where every thing in (...) the universe, whether it is an atom or a ball or even a star, ceaselessly jumps in a random and discontinuous way. In a famous metaphor, God does play dice with the universe. Discovering motion is not continuous but discontinuous and random is like finding the Earth is not at rest but moving. The new discovery may finally solve Zeno's paradoxes and the quantum puzzle, and it will lead to a profound shift in our world view. (shrink)

Can static pictures depict motion and temporal properties? This is an open question that is becoming increasingly discussed in both aesthetics and the philosophy of mind. Theorists working on this issue have mainly focused on static pictures of dynamic scenes and streaky images – such as futurists’ paintings or long-exposure photographs. And yet, we could ask: if there is some success in creating an illusory impression of movement in a static image - as is the case in optical illusions (...) of movement, such as Bridget Riley’s Fall (1963: Tate, London), or Kitaoka’s Rotating Snakes Illusion - is this to say that such static images depict movement? As far as I know, no one working on the depiction of motion has specifically and systematically tackled motion-based illusions nor tried to answer this question. This paper considers two cases of optical illusions of movement and concludes that one of them is involved in the depiction of movement. While the declared goal of my analysis is to answer a quite circumscribed question, it is also the occasion to tackle motion-based illusions tout court - to account for the complex visual experiences they elicit and related phenomenology. Moreover, this account has interesting consequences for theorizing depiction and pictorial experience in general. In particular, it constitutes a counterexample to resemblance theories of depiction. (shrink)

According to Wittgenstein’s claim that our “seeing a thing as” is strongly dependent on what he calls “world-picture” and vice versa, motion pictures present “surveyable repres- entations” of our world-picture and therefore influence the way we see the world. Insofar as understanding means to see coherences, motion pictures help humans understand world-pictures. But the insights imparted by motion pictures are not of a mere cognitive kind, since motion pictures do not present arguments. By making use of (...) imaginative identification they have such an impact on humans that they directly “embody” insights and thereby changing what is accepted as knowledge within a world-picture. (shrink)