Review of Philosophy and Blade Runner by Timothy Shanahan in Cinema: Journal of Philosophy and the Moving Image, Volume 7
These are some of my favorite films about food:
Babette’s Feast (1987)
On the menu: turtle soup, quail, rum sponge cake, Clos Vougeot Louis Latour
Big Night (1996)
On the menu: risotto, timpano, an omelette
Geoff Todd has a great Twitter feed called Perfect Shots (@OnePerfectShot) where he posts his favorite shots from films. These are some selections of my own: In looking through shots to show I realized something important about great shots: for some shots, their greatness cannot be conveyed by a still. This is…
In Hal Hartley’s Amatuer, an ex-nun who’s attempting to earn a living by writing pornography is scolded by her editor. He accuses her of writing “art,” and not the filthy, dirty material his magazine wants from her, and he insists that she come clean and admit it. Does Louis C.…
A new issue of Film-Philosophy has been published and it includes an article by me: The Facts Before Our Eyes: Wittgenstein and the Film Noir Investigator In this article, I compare the methods of the film noir investigator to solve crimes and those of Wittgenstein to solve (dissolve) philosophical problems. The hope…
Oblivion is a bad film, but it took some thinking for me to determine the reason why. I believe the reason to be instructive. Oblivion is a bricolage. It is made up almost entirely of elements taken from other films. Its title is reminiscent of Inception’s and its succinct suggestiveness. Its…
Robert B. Pippin, Fatalism in American Film Noir: Some Cinematic Philosophy. Reviewed in Philosophy in Review.
The trailer for a new documentary about J. D. Salinger:
In fall 2013, I will be teaching Philosophy of Film, a 4-credit, 3000-level course that will meet Mondays & Wednesdays from 6 to 7:50PM. While it is not a required course, it does fulfill some requirements of the Philosophy, Politics, and Law concentration of the Liberal Arts major.
Our text will be Philosophy of Film and Motion Pictures, edited by N. Carroll and J. Choi (Wiley-Blackwell, 2006). This is an anthology of essays by contemporary philosophers on various issues in the philosophy of film, such as the nature of photographic representation, the ontology of film (e.g., what is film?), the paradox of emotional responses to film, ethical issues related to film production and criticism, and the potential of film as philosophy.
We will usually read and discuss one essay per class period, except on those days that we will be watching films. The films we’ll watch were not chosen because of their direct connection to any of these essays (though, of course, they will be relevant). In fact, as long as students have watched some films before (which can be safely assumed), there is really no need to watch films in this class. But I figured that students would be disappointed if they took a philosophy of film class and were not shown any films. I have chosen films that were made by people who studied and/or taught philosophy before becoming filmmakers. In addition, they are excellent films with rich philosophical content. The filmmakers are Wes Anderson, Eric Rohmer, Jill Sprecher, and Terrence Malick. Below are trailers to some of their films and the complete short film La boulangère de Monceau (The Bakery Girl of Monceau) by Eric Rohmer (in two parts).
We’ll probably watch at least eight films. Assignments will likely include homework, a film journal, two or three essay exams, and perhaps the option to substitute a paper for one exam.