This collection fills a gap in the current literature in philosophy and film by focusing on the question: How would thinking in philosophy and film be transformed if race were formally incorporated moved from its margins to the center? The collection's contributors anchor their discussions of race through considerations of specific films and television series, which serve as illustrative examples from which the essays' theorizations are drawn. Inclusive and current in its selection of films and genres, the collection incorporates dramas, comedies, horror, and science fiction films (among other genres) into its discussions, as well as recent and popular titles of interest, such as Twilight, Avatar, Machete, True Blood, and The Matrix and The Help. The essays compel readers to think more deeply about the films they have seen and their experiences of these narratives.

This collection fills a gap in the current literature in philosophy and film by focusing on the question: How would thinking in philosophy and film be transformed if race were formally incorporated moved from its margins to the center? The collection's contributors anchor their discussions of race through considerations of specific films and television series, which serve as illustrative examples from which the essays' theorizations are drawn. Inclusive and current in its selection of films and genres, the collection incorporates dramas, comedies, horror, and science fiction films (among other genres) into its discussions, as well as recent and popular titles of interest, such as Twilight, Avatar, Machete, True Blood, and The Matrix and The Help. The essays compel readers to think more deeply about the films they have seen and their experiences of these narratives.

The title of this collection, The Logic of Racial Practice, pays homage to the work of Pierre Bourdieu, who coined the term habitus to name the pretheoretical, embodied dispositions that orient our social interactions and meaningfully frame our lived experience. The language of habit uniquely accounts for not only how we are unreflectively conditioned by our social environments but also how we responsibly choose to enact our habits and can change them. Hence, this collection of essays edited by Brock Bahler explores how white supremacy produces a racialized modality by which we live as embodied beings, arguing that race-and racism-is performative, habituated, and enacted. We do not regularly have to "think" about race, since race is a praxis, producing embodied habits that have become sedimented into our ways of being-in-the-world, and that instill within us racialized (and racist) dispositions, postures, and bodily comportments that inform how we interact with others. The construction of race produces a particular bodily formation in which we are shaped to viscerally perceive through a racialized lens images, words, activities, and events without any self-reflective conceptualization, and which we perpetuate throughout our day-to-day choices. The contributors argue that eradicating racism in our society requires unlearning these racialized habitus and cultivating new anti-racist habits.

In the past two decades, African American filmmakers like Spike Lee have made significant contributions to the dialogue about race in the United States by adapting techniques from classic film noir to black American cinema. This book is the first to examine these artistic innovations in detail from a philosophical perspective informed by both cognitive film theory and critical race theory.

Dan Flory explores the techniques and themes that are used in black film noir to orchestrate the audience's emotions of sympathy and empathy felt toward morally complex characters whom people might not typically find appealing in real life, such as thugs, drug dealers, or murderers. Using an approach that combines the cognitive insights of theorists like David Bordwell, Noel Carroll, and Murray Smith with the reflective Wittgensteinian methods for considering film employed by Stanley Cavell, Stephen Mulhall, and William Rothman, Flory shows how these films scrutinize the state of race in America, induce their viewers to do so as well, and illuminate the ways in which categories of race have defined and continue to direct much of our vision of the moral self and what counts as appropriate moral sensibility.