Thinking Through Film: Doing Philosophy, Watching Movies
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An introduction to philosophy through film, Thinking Through Film: Doing Philosophy, Watching Movies combines the exploration of fundamental philosophical issues with the experience of viewing films, and provides an engaging reading experience for undergraduate students, philosophy enthusiasts and film buffs alike. An in-depth yet accessible introduction to the philosophical issues raised by films, film spectatorship and film-making.
Provides 12 self-contained, close discussions of individual films from across genres.
Films discussed include Total Recall, Minority Report, La Promesse, Funny Games, Ikuru, The Dark Knight, Memento, AI and more.
Explores concepts that span epistemology, metaphysics, fate, choice, robot love, time travel, personal identity, spectacle, ethics, luck, regret, consequentialism, deontology and the philosophy of film itself.
A uniquely flexible resource for courses in philosophy and film that encourages student reflection, as well as being an engaging read for the film enthusiast.
what might happen, how likely it is to happen, and how good or how bad it would be for us if it happened. In contemporary decision theory, the standard way of conceiving of this task is in terms of something called expected utility. Here is how it works out in Judah’s case. Judah faces a choice of either confessing to Miriam or arranging the murder of Delores. (Say, for simplicity’s sake, that these are his only choices.) Judah has to work out the possible consequences of confessing to Miriam. He
expresses the point like this: “I ought never to act except in such a way that I could also will that my maxim should become a universal law [italics in original]” (Kant 1999, 4.403, 57). This is the first of his formulations of the categorical imperative. Further Reading Allingham, Michael (2002). Choice Theory: A Very Short Introduction. New York: Oxford University Press. Aune, Bruce (1979). Kant’s Theory of Morals. Princeton: Princeton University Press. Ewin, R. E. (1991). Virtues and
critical discussion with the experience of viewing a film can be an engaging way into philosophy as well as into film. There is no unique perspective that philosophy brings to film and no singular connection between the two. Instead, films are themselves (often muddled) philosophical investigations, just as such investigations by philosophers are often muddled. Questions Can film change, or has film changed, the way philosophy is done? Can philosophy change, or has philosophy changed, the
nicely. In this respect David’s love of his mother is pretty much what you would expect of any healthy 11-year-old kid. He is affectionate, selfish, egocentric, needy, and vulnerable. David’s love for Monica may seem very much like a child’s love, but does he really love her? Two things stand in the way of a positive answer to this question. The first is an issue we have already mentioned. David is a robot. He is not flesh and blood. He is “mecha,” as they say in the movie. Is mecha-love an
According to the A-Series, events in time are ordered according to whether they are in the past, in the present, or in the future. Time marks a process of becoming: future events become present and then become past. According to the B-Series, by contrast, events in time are ordered by the relations earlier than, later than, and simultaneous with. Take any two events you like: the execution of Charles I of England and Argentina’s winning the 1978 FIFA World Cup Final. The one event either