This collection of new work on the philosophical importance of
television starts from a model for reading films proposed by
Stanley Cavell, whereby film in its entirety—actors and
production included—brings its own intelligence to its
realization. In turn, this intelligence educates us as viewers,
leading us to recognize and appreciate our individual cinephilic
tastes, and to know ourselves and each other better. This reading
is even more valid for TV series. Yet, in spite of the
progress of film-philosophy, there has been a paucity of concurrent
analysis of the ethical stakes, the modes of expressiveness, and
the moral education involved in television series. Perhaps most
conspicuously, there has been a lack of focus on the experience of
the viewer. Cavell highlighted popular cinema's capacity to
create a common culture for millions. This power has become
dispersed across other bodies of work and practices, most notably
TV series, which have largely appropriated the responsibility of
widening the perspectives of their publics, a role once associated
with the silver screen. Just as Cavell's reading of films involved
moral perfectionism in its intent, this project is also
perfectionist, extending a similar aesthetic and ethical method to
readings of the small screen. Because TV series are works that are
public and thus shared, and often global in reach, they fulfil an
educational role—whether intended or not—and one that enables
viewers to anchor and appreciate the value of their everyday
experiences. Contributions from: William Rothman, Martin Shuster,
Elisabeth Bronfen, Hugo Clémot, David LaRocca, Jeroen Gerrits,
Stephen Mulhall, Michelle Devereaux, Thibaut de Saint-Maurice, Hent
de Vries, Catherine Wheatley, Byron Davies, Sandra Laugier, Paul
Standish, Robert Sinnerbrink.
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