The Routledge Companion to Philosophy and Film (Routledge Philosophy Companions)

The Routledge Companion to Philosophy and Film is the first comprehensive volume to explore the main themes, topics, thinkers and issues in philosophy and film. The Companion features sixty specially commissioned chapters from international scholars and is divided into four clear parts: • issues and concepts • authors and trends • genres • film as philosophy. Part one is a comprehensive section examining key concepts, including chapters on acting, censorship, character, depiction, ethics, genre, interpretation, narrative, reception and spectatorship and style. Part two covers authors and scholars of film and significant theories Part three examines genres such as documentary, experimental cinema, horror, comedy and tragedy. Part four includes chapters on key directors such as Tarkovsky, Bergman and Terrence Malick and on particular films including Memento. Each chapter includes a section of annotated further reading and is cross-referenced to related entries. The Routledge Companion to Philosophy and Film is essential reading for anyone interested in philosophy of film, aesthetics and film and cinema studies. 'the Routledge Companion To Philosophy And Film' Discusses Issues And Concepts, Authors And Trends, Genres And Other Types, Film As Philosophy, Directors, And Themes. Acting / Johannes Riis -- Authorship / Aaron Meskin -- Censorship / Susan Dwyer -- Consciousness / Murray Smith -- Definition Of Cinema / Trevor Ponech -- Depiction / Robert Hopkins -- Digital Cinema / Berys Gaut -- Emotion And Affect / Carl Plantinga -- Empathy And Character Engagement / Amy Coplan -- Ethics / Folke Tersman -- Film As Art / Robert Stecker -- Formalism / Katherine Thomson-jones -- Gender / Angela Curran And Carol Donelan -- Genre / Brian Laetz And Dominic Mciver Lopes -- Interpretation / George Wilson -- Medium / Kevin W. Sweeney -- Music / Jeff Smith -- Narration / Noël Carroll -- Narrative Closure / Noël Carroll -- Ontology / David Davies -- Race / Dan Flory -- Realism / Andrew Kania -- Spectatorship / Carl Plantinga -- Sound / Giorgio Biancorosso -- Style / Noël Carroll -- Violence / Stephen Prince -- Rudolph Arnheim / Jinhee Choi -- Walter Benjamin / Stéphane Symons -- David Bordwell / Patrick Colm Hogan -- Bertolt Brecht / Angela Curran --^ Noël Carroll / Jonathan Frome -- Stanley Cavell / William Rothman -- Cognitive Theory / David Bordwell -- Gilles Deleuze / Ronald Bogue -- Sergei Eisenstein / David Bordwell -- Christian Metz / Francesco Casetti -- Jean Mitry / Brian Lewis -- Edgar Morin / Dudley Andrew -- Hugo Münsterberg / Don Fredericksen -- Phenomenology / Vivian Sobchack -- Psychoanalysis / Richard Allen -- Semiotics And Semiology / Joseph G. Kickasola -- Wittgenstein / Malcolm Turvey -- Dogme 95 / Mette Hjort -- Documentary / Carl Plantinga -- Horror / Aaron Smuts -- Pornography / Susan Dwyer -- Avant-garde Film / Maureen Turim -- Tragedy And Comedy / Deborah Knight -- Film As Philosophy / Thomas E. Wartenberg -- Ingmar Bergman / Paisley Livingston -- Terrence Malick / David Davies -- Andrei Tarkovsky / András Bálint Kovács -- Why Be Moral? / Chris Falzon -- Skepticism / Richard Fumerton -- Personal Identity / Deborah Knight -- Practical Wisdom And The Good Ground Of Gettysburg / Joseph Kupfer --^ The Five Obstructions / Mette Hjort -- Gattaca / Neven Sesardic -- Memento / Andrew Kania. Edited By Paisley Livingston And Carl Plantinga. Includes Bibliographical References And Index. BOOK COVER......Page 1 TITLE......Page 4 COPYRIGHT......Page 5 CONTENTS......Page 6 CONTRIBUTORS......Page 11 PREFACE......Page 19 ACKNOWLEDGMENTS......Page 21 PART I: ISSUES AND CONCEPTS......Page 22 1 ACTING......Page 24 2 AUTHORSHIP......Page 33 3 CENSORSHIP......Page 50 4 CONSCIOUSNESS......Page 60 5 DEFINITION OF “CINEMA”......Page 73 6 DEPICTION......Page 85 7 DIGITAL CINEMA......Page 96 8 EMOTION AND AFFECT......Page 107 9 EMPATHY AND CHARACTER ENGAGEMENT......Page 118 10 ETHICS......Page 132 11 FILM AS ART......Page 142 12 FORMALISM......Page 152 13 GENDER......Page 163 14 GENRE......Page 173 15 INTERPRETATION......Page 183 16 MEDIUM......Page 194 17 MUSIC......Page 205 18 NARRATION......Page 217 19 NARRATIVE CLOSURE......Page 228 20 ONTOLOGY......Page 238 21 RACE......Page 248 22 REALISM......Page 258 23 SPECTATORSHIP......Page 270 24 SOUND......Page 281 25 STYLE......Page 289 26 VIOLENCE......Page 300 PART II: AUTHORS AND TRENDS......Page 310 27 RUDOLPH ARNHEIM......Page 312 28 WALTER BENJAMIN......Page 322 29 DAVID BORDWELL......Page 334 30 BERTOLT BRECHT......Page 344 31 NOËL CARROLL......Page 355 32 STANLEY CAVELL......Page 365 33 COGNITIVE THEORY......Page 377 34 GILLES DELEUZE......Page 389 35 SERGEI EISENSTEIN......Page 399 36 CHRISTIAN METZ......Page 408 37 JEAN MITRY......Page 418 38 EDGAR MORIN......Page 429 39 HUGO MÜNSTERBERG......Page 443 40 PHENOMENOLOGY......Page 456 41 PSYCHOANALYSIS......Page 467 42 SEMIOTICS AND SEMIOLOGY......Page 478 43 WITTGENSTEIN......Page 491 PART III: GENRES AND OTHER TYPES......Page 502 44 DOGME 95......Page 504 45 DOCUMENTARY......Page 515 46 HORROR......Page 526 47 PORNOGRAPHY......Page 536 48 AVANT-GARDE FILM......Page 548 49 TRAGEDY AND COMEDY......Page 557 PART IV: FILM AS PHILOSOPHY......Page 568 50 FILM AS PHILOSOPHY......Page 570 51 INGMAR BERGMAN......Page 581 52 TERRENCE MALICK......Page 590 53 ANDREI TARKOVSKY......Page 602 54 WHY BE MORAL?......Page 612 55 SKEPTICISM......Page 622 56 PERSONAL IDENTITY......Page 632 57 PRACTICAL WISDOM AND THE GOOD GROUND OF GETTYSBURG......Page 641 58 THE FIVE OBSTRUCTIONS......Page 652 59 GATTACA......Page 662 60 MEMENTO......Page 671 INDEX......Page 682 Humanities BOOK COVER 1 TITLE 4 COPYRIGHT 5 CONTENTS 6 CONTRIBUTORS 11 PREFACE 19 ACKNOWLEDGMENTS 21 PART I: ISSUES AND CONCEPTS 22 1 ACTING 24 2 AUTHORSHIP 33 3 CENSORSHIP 50 4 CONSCIOUSNESS 60 5 DEFINITION OF “CINEMA” 73 6 DEPICTION 85 7 DIGITAL CINEMA 96 8 EMOTION AND AFFECT 107 9 EMPATHY AND CHARACTER ENGAGEMENT 118 10 ETHICS 132 11 FILM AS ART 142 12 FORMALISM 152 13 GENDER 163 14 GENRE 173 15 INTERPRETATION 183 16 MEDIUM 194 17 MUSIC 205 18 NARRATION 217 19 NARRATIVE CLOSURE 228 20 ONTOLOGY 238 21 RACE 248 22 REALISM 258 23 SPECTATORSHIP 270 24 SOUND 281 25 STYLE 289 26 VIOLENCE 300 PART II: AUTHORS AND TRENDS 310 27 RUDOLPH ARNHEIM 312 28 WALTER BENJAMIN 322 29 DAVID BORDWELL 334 30 BERTOLT BRECHT 344 31 NOËL CARROLL 355 32 STANLEY CAVELL 365 33 COGNITIVE THEORY 377 34 GILLES DELEUZE 389 35 SERGEI EISENSTEIN 399 36 CHRISTIAN METZ 408 37 JEAN MITRY 418 38 EDGAR MORIN 429 39 HUGO MÜNSTERBERG 443 40 PHENOMENOLOGY 456 41 PSYCHOANALYSIS 467 42 SEMIOTICS AND SEMIOLOGY 478 43 WITTGENSTEIN 491 PART III: GENRES AND OTHER TYPES 502 44 DOGME 95 504 45 DOCUMENTARY 515 46 HORROR 526 47 PORNOGRAPHY 536 48 AVANT-GARDE FILM 548 49 TRAGEDY AND COMEDY 557 PART IV: FILM AS PHILOSOPHY 568 50 FILM AS PHILOSOPHY 570 51 INGMAR BERGMAN 581 52 TERRENCE MALICK 590 53 ANDREI TARKOVSKY 602 54 WHY BE MORAL? 612 55 SKEPTICISM 622 56 PERSONAL IDENTITY 632 57 PRACTICAL WISDOM AND THE GOOD GROUND OF GETTYSBURG 641 58 THE FIVE OBSTRUCTIONS 652 59 GATTACA 662 60 MEMENTO 671 INDEX 682