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By Richard A. Gilmore

Explores philosophical rules via an exam of renowned film.

Doing Philosophy on the video clips finds the roots of profound philosophical rules within the fairly usual context of well known, normally Hollywood, videos. Richard A. Gilmore means that narratives of well known motion pictures like Hitchcock's Vertigo, John Ford's The Searchers, Woody Allen's Crimes and Misdemeanors, the Coen Brothers' Fargo, and Danny Boyle's Trainspotting replicate convinced epiphanies within the works of significant philosophers. through Plato, Aristotle, Kant, Nietzsche, Wittgenstein, and Zizek, Gilmore addresses such issues because the nature of philosophy, the potential for redemption via love, catharsis, the elegant, and the human challenge of demise. Gilmore argues that seeing those video clips in the course of the lens of yes philosophical principles can exhibit how deeply appropriate either philosophy and the films can be.

“Often what's to be discovered from a movie is openness to others, to new reports, and to otherness itself; and openness seems to be the very trait that Gilmore unearths essential to movie appreciation … a lot may possibly be realized right here approximately viewing motion pictures philosophically.” — CHOICE

"Gilmore has a particular tackle the connection among philosophy and picture. utilizing the paintings of Stanley Cavell as his foundation, Gilmore argues that well known movies could be a capacity wherein humans can adventure the pleasures and rewards of philosophy." — Thomas E. Wartenberg, writer of Unlikely undefined: motion picture Romance as Social Criticism

"Gilmore perspicuously represents how well known video clips really supply us considerate makes an attempt to come back to grips with these matters that the majority profoundly difficulty us. He deals startlingly insightful comments and observations approximately movie and brings out how our quotidian lives will be intensely philosophical with out our even being aware." — Dan Flory, Montana nation college at Bozeman

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Extra resources for Doing Philosophy At The Movies

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By virtue of this motion across the screen the boundaries between film world and viewer world break down. Because of our own emotional commitments, we are in some real sense as much out on that porch as the woman is, and similarly anxious to learn what bodings this traveler across the land brings. The fact that this movement is against the background of Monument Valley is surely significant. There is something decidedly uncanny about the place, especially in the panoramic vistas that Ford gets on film.

The Usual Suspects may not be a classic tragedy, but it does have some of the forms that Aristotle associates with tragedy. I have in mind particularly anagnorisis and peripeteia, a recognition on the part of the protagonist and a reversal in the plot. For a tragedy to be edifying according to Aristotle, these formal components should lead to the experience of catharsis, the expelling of fear and pity via an experience of fear and pity. 2 It is a bit hard to conceive of how there could be a classic tragedy anymore, at least in the traditional sense of a story about an aristocratic man who is somehow by nature entitled to greatness and to be king, yet who falls due to cosmic forces of justice.

Our own arrogance has been on trial, has been played to; our arrogance about our ability to read movies, to pick up on the important signs long before the end, has been played to. We have been duped, however, not so much by Verbal as by Bryan Singer, the movie’s director, who has played us for suckers. There is some pleasure here to be sure. We like things to turn out to be a little more complicated than we 36 Doing Philosophy at the Movies thought, especially if we get it. There is also, however, some anxiety.

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