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

✍ Scribed by Paisley Livingston, Carl Plantinga

• Year: 2008
• Tongue: English
• Leaves: 693
• Edition: 1
• Category: Library

✦ Synopsis

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. 

✦ Table of Contents

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