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Cinema, Philosophy, Bergman

On Film as Philosophy

Autor: Paisley Livingston

Jazyk:

Vazba: Pevná

Vydavatel: Oxford University Press

Dostupnost: Skladem u dodavatele

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The increasingly popular idea that cinematic fictions can 'do' philosophy raises some difficult ques...

Informace o knize

Autor

Paisley Livingston

Jazyk

Angličtina

Vazba

Kniha - Pevná

Vydáno

2009

Stránek

226

EAN

9780199570171

ISBN

0199570175

Enbook ID

04533221

Vydavatel

Oxford University Press

Hmotnost

458

Rozměry

143 x 223 x 17

Kompletní popis

The increasingly popular idea that cinematic fictions can 'do' philosophy raises some difficult questions. Who is actually doing the philosophizing? Is it the philosophical commentator who reads general arguments or theories into the stories conveyed by a film? Could it be the film-maker, or a group of collaborating film-makers, who raise and try to answer philosophical questions with a film? Is there something about the experience of films that is especially suited to the stimulation of worthwhile philosophical reflections? In the first part of this book, Paisley Livingston surveys positions and arguments surrounding the cinema's philosophical value. He raises criticisms of bold theses in this area and defends a moderate view of film's possible contributions to philosophy. In the second part of the book he defends an intentionalist approach that focuses on the film-makers' philosophical background assumptions, sources, and aims. Livingston outlines intentionalist interpretative principles as well as an account of authorship in cinema. The third part of the book exemplifies this intentionalist approach with reference to the work of Ingmar Bergman. Livingston explores the connection between Bergman's work and the Swedish director's primary philosophical source-a treatise in philosophical psychology authored by the Finnish philosopher, Eino Kaila. Bergman proclaimed that reading this book was a tremendous philosophical experience for him and that he 'built on this ground'. With reference to materials in the newly created Ingmar Bergman archive, Livingston shows how Bergman took up Kaila's topics in his cinematic explorations of motivated irrationality, inauthenticity, and the problem of self-knowledge.

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Cinema, Philosophy, Bergman

On Film as Philosophy

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