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.
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.
Rupert Read is Reader in Philosophy at the University of East Anglia, UK. He is a renowned Wittgensteinian scholar, with research interests in political and environmental philosophy. His published monographs to date are Kuhn (co-authored, 2002), Applying Wittgenstein (2007), Philosophy for Life (2007), There is No Such Thing as a Social Science (2008), Wittgenstein Among the Sciences (2012), and A Wittgensteinian Way with Paradoxes (2012). His editorial experience includes The New Hume Debate (co-edited, 2000), Film as Philosophy: Essays on Cinema after Wittgenstein and Cavell (2005), and the work for which he is perhaps still best known, The New Wittgenstein (Routledge, 2000), which offers a major re-evaluation of Wittgenstein's thinking.
Inhaltsangabe
Introduction: Film as Freedom: The Meaning of Film as Philosophy 1. Implicating the Narrator, Implicating the Audience: Waltz with Bashir and Apocalypto 2. How to Represent a Past We Would Rather Forget: Hiroshima Mon Amour and Last Year at Marienbad 3. Learning from Conceptually Impossible Versions of Our World: Never Let Me Go and The Road 4. When Melancholia is Exactly What is Called For: Melancholia and Solaris 5. Gravity's arc; or Gravity: A Space Odyssey 6. The Fantasy of Absolute Safety through Absolute Power: The Lord of the Rings trilogy and Avatar Conclusion: What have we learnt?
Introduction: Film as Freedom: The Meaning of Film as Philosophy 1. Implicating the Narrator, Implicating the Audience: Waltz with Bashir and Apocalypto 2. How to Represent a Past We Would Rather Forget: Hiroshima Mon Amour and Last Year at Marienbad 3. Learning from Conceptually Impossible Versions of Our World: Never Let Me Go and The Road 4. When Melancholia is Exactly What is Called For: Melancholia and Solaris 5. Gravity's arc; or Gravity: A Space Odyssey 6. The Fantasy of Absolute Safety through Absolute Power: The Lord of the Rings trilogy and Avatar Conclusion: What have we learnt?
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