In Movies with Stanley Cavell in Mind, some of the scholars who have become essential for our understanding of Stanley Cavell's writing on film gather to use his landmark contributions to help us read new films-from Hollywood and elsewhere-that exist beyond his immediate reach and reading. In extending the scope of Cavell's film philosophy, we naturally find ourselves contending with it and amending it, as the case may be. Through a series of interpretive vignettes, the group effort situates, for the expert and novitiate alike, how Cavell's writing on film can profitably enrich one's experience of cinema generally and also inform how we might continue the practice of serious philosophical criticism of specific films mindful of his sensibility. The resulting conversations between texts, traditions, disciplines, genres, and generations creates propitious conditions for discovering what it means to watch and listen to movies with Stanley Cavell in mind.

When a work of art shows an interest in its own status as a work of art-either by reference to itself or to other works-we have become accustomed to calling this move "meta." While scholars and critics have, for decades, acknowledged reflexivity in films, it is only in Metacinema, for the first time, that a group of leading and emerging film theorists join to enthusiastically debate the meanings and implications of the meta for cinema. In new essays on generative films, including Rear Window, 8 1/2, Holy Motors, Funny Games, Fight Club, and Clouds of Sils Maria, contributors chart, explore, and advance the ways in which metacinema is at once a mode of filmmaking and a heuristic for studying cinematic attributes. What results is not just an engagement with certain practices and concepts in widespread use in the movies (from Hollywood to global cinema, from documentary to the experimental and avant-garde), but also the development of a veritable and vital new genre of film studies. With more and more films expressing reflexivity, recursion, reference to other films, mise-en-abime, seriality, and exhibiting related intertextual and intermedial traits, the time is overdue for the kind of capacious yet nuanced critical study found in Metacinema.

What is real? What is the relationship between ideas and objects in the world? Is God a concept or a being? Is reality a creation of the mind or a power beyond it? How does mental experience coordinate with natural laws and material phenomena? The Bloomsbury Anthology of Transcendental Thought is the definitive anthology of responses to these and other questions on the nature and limits of human knowledge by philosophers, theologians, and writers from Plato to Zizek. The word "transcendental" is as prevalent and also as ambiguously defined as the name "philosophy" itself. There are as many uses, invocations, and allusions to the term as there are definitions on offer. Every generation of writers, beginning in earnest in ancient Greece and continuing through to our own time, has attempted to clarify, apply, and lay claim to the meaning of transcendental thought. Arranged chronologically, this anthology reflects the diverse uses the term has been put to over the course of two and a half millennia. It lends historical perspective to the abiding importance of the transcendental for philosophical thinking and also some sense of the complexity, richness, and continued relevance of the contested term. The Bloomsbury Anthology of Transcendental Thought, the first anthology of its kind, offers teachers and students a new viewpoint on the history and present of transcendental thought. Its selection of essential, engaging excerpts, carefully selected, edited, and introduced, brings course materials up-to-date with the state of the discipline.

From the Academy Award--winning Eternal Sunshine of the Spotless Mind (2004) and Academy Award--nominated Adaptation (2002) to the cult classic Being John Malkovich (1999), writer Charlie Kaufman is widely admired for his innovative, philosophically resonant films. Although he only recently made his directorial debut with Synecdoche, New York (2008), most fans and critics refer to "Kaufman films" the way they would otherwise discuss works by directors Woody Allen, Martin Scorsese, or the Coen brothers. Not only has Kaufman transformed our sense of what can take place in a film, but he also has made a significant impact on our understanding of the role of the screenwriter. The Philosophy of Charlie Kaufman, edited by David LaRocca, is a collection of essays devoted to a rigorous philosophical exploration of Kaufman's work by a team of accomplished scholars from a wide range of disciplines. Including a new preface by the editor, this volume offers original philosophical analyses as well as extended reflections on the nature of film and innovative models of film criticism.

The polysemous German word Geschlecht -- denoting gender, genre, kind, kinship, species, race, and somehow also more -- exemplifies the most pertinent questions of the translational, transdisciplinary, transhistorical, and transnational structures of the contemporary humanities: What happens when texts, objects, practices, and concepts are transferred or displaced from one language, tradition, temporality, or form to another? What is readily transposed, what resists relocation, and what precipitate emerges as distorted or new? Drawing on Barbara Cassin's transformative remarks on untranslatability, and the activity of "philosophizing in languages," scholars contributing to The Geschlecht Complex examine these and other durable queries concerning the ontological powers of naming, and do so in the light of recent artistic practices, theoretical innovations, and philosophical incitements. Combining detailed case studies of concrete "category problems" in literature, philosophy, media, cinema, politics, painting, theatre, and the performing arts with a range of indispensable excerpts from canonical texts -- by notable, field-defining thinkers such as Apter, Cassin, Cavell, Derrida, Irigaray, Malabou, and Nancy, among others -- the volume presents "the Geschlecht complex" as a condition to become aware of, and in turn, to companionably underwrite any interpretive endeavor. Historically grounded, yet attuned to the particularities of the present, the Geschlecht complex becomes an invaluable mode for thinking and theorizing while ensconced in the urgent immediacy of pressing concerns, and poised for the inevitable complexities of categorial naming and genre discernment that await in the so often inscrutable, translation-resistant twenty-first century.

A Critical Companion to Steven Spielberg offers a comprehensive, detailed study of the works of Steven Spielberg. Spielberg's early productions stand as landmarks in contemporary cinema, and his involvement with film spans all cinematic genres. Today, Spielberg enjoys an immense and enduring popularity around the globe, and his productions have attracted (and continue to attract) both public and critical attention. This book investigates several distinct areas of Spielberg's works and addresses the different approaches and the range of topics invited by the multidimensionality of his oeuvre. The eighteen chapters in this book use different methodologies, offering a variegated and compelling picture of Spielberg's films, from his earliest works such as Duel (1971) and The Sugarland Express (1974) to his most recent productions, such as The BFG (2016), The Post (2017), and Ready Player One (2018).

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.

Legendary director, actor, author, and provocateur Werner Herzog has incalculably influenced contemporary cinema for decades. Until now there has been no sustained effort to gather and present a variety of diverse philosophical approaches to his films and to the thinking behind their creation. The Philosophy of Werner Herzog, edited by M. Blake Wilson and Christopher Turner, collects fourteen essays by professional philosophers and film theorists from around the globe, who explore the famed German auteur's notions of "ecstatic truth" as opposed to "accountants' truth," his conception of nature and its penchant for "overwhelming and collective murder," his controversial film production techniques, his debts to his philosophical and aesthetic forebears, and finally, his pointed objections to his would-be critics--including, among others, the contributors to this book themselves. By probing how Herzog's thinking behind the camera is revealed in the action he captures in front of it, The Philosophy of Werner Herzog shines new light upon the images and dialog we see and hear on the screen by enriching our appreciation of a prolific--yet enigmatic--film artist.

A Critical Companion to Robert Zemeckis offers a comprehensive, academic and detailed study of the works of Robert Zemeckis, whose films include successful productions such as the Back to the Future trilogy (1985-90), Forrest Gump (1994), Contact (1997), Cast Away (2000) and The Polar Express (2004), but also lesser known films such as I Wanna Hold Your Hand (1978), Used Cars (1980), and Allied (2015). Most of Zemeckis' major productions were not only successful when they were first released but continue to enjoy popularity-with critics and fans alike-even today. This volume investigates several distinct areas of Zemeckis' works and addresses the different approaches: the philosophical, the artistic, the socio-cultural, and the personal. The methodologies adopted by the contributors differ significantly from each other, thus offering the reader a variegated and compelling picture of Zemeckis' oeuvre, which includes nineteen films. Contrary to the few volumes published in the past on the subject, the chapters in this volume offer specific case studies that have been previously ignored (or only partially mentioned) by other scholars. A Critical Companion to Robert Zemeckis offers a great variety of interdisciplinary approaches to Zemeckis' films, illuminating, re-reading and/or interpreting for the first time the entire career of the director, from his first films to the most recent ones.

From the dust of the Montana plains to the farthest reaches of the cosmos, Terrence Malick's films have enchanted audiences with transcendent images of nature, humanity, and grace for nearly fifty years. The contributors in this volume explore the profound implications of Malick's stories, images, processes, and convictions as they offer comprehensive studies of the ten completed films of Terrence Malick. Each chapter takes a reflective and retrospective approach, considering new interpretations and frameworks for understanding Malick's unique creative choices. Drawing from a range of diverse academic disciplines, the collection analyzes the groundbreaking qualities of his cinematic style and the philosophical underpinnings that permeate his work. Rigorously researched and unique, the arguments presented within this volume shed new light on Malick and the cinematic medium.

The spirit that founded the volume and guided its development is radically inter- and transdisciplinary. Dispatches have arrived from anthropology, communications, English, film studies (including theory, history, criticism), literary studies (including theory, history, criticism), media and screen studies, cognitive cultural studies, narratology, philosophy, poetics, politics, and political theory; and as a special aspect of the volume, theorist-filmmakers make their thoughts known as well. Consequently, the critical reflections gathered here are decidedly pluralistic and heterogeneous, inviting-not bracketing or partitioning-the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences (in so far as we are biological beings who are trying to track our cognitive and perceptual understanding of a nonbiological thing-namely, film, whether celluloid-based or in digital form); these disciplines, so habitually cordoned off from one another, are brought together into a shared conversation about a common object and domain of investigation. This book will be of interest to theorists and practitioners of nonfiction film; to emerging and established scholars contributing to the secondary literature; and to those who are intrigued by the kinds of questions and claims that seem native to nonfiction film, and who may wish to explore some critical responses to them written in engaging language.

Stanley Cavell was, by many accounts, America's greatest philosophical thinker of film. Like Bazin in France and Perkins in England, Cavell did not just transform the American capacity to take film as a subject for philosophical criticism; he had to first invent that legitimacy. Part of that effort involved the creation of several key now-canonical texts in film studies, among them the seminal The World Viewed along with Pursuits of Happiness and Contesting Tears. The present collection offers, for the first time anywhere, a concerted effort mounted by some of today's most compelling writers on film to take careful account of Cavell's legacy. The contributors think anew about what precisely Cavell contributed, what holds up, what is in need to revision or updating, and how his writing continues to be of vital significance and relevance for any contemporary approach to the philosophy of film.

Some of the people who knew Stanley Cavell best--or know his work most intimately--are gathered in Inheriting Stanley Cavell to lend critical insight into the once and future legacy of this American titan of thought. Former students, colleagues, long-time friends, as well as distant admirers, explore moments when their personal experiences of Cavell's singular philosophical and literary illuminations have, as he put it, "risen to the level of philosophical significance." Many of the memories, dreams, and reflections on offer in this volume carry with them a welcome register of the autobiographical, expressing--much as Cavell did through his own writing--how the personal can become philosophical and thus provide a robust mode for the making of meaning and the clarifying of the human condition. Here, in varied styles and through a range of dynamic content, authors engage the lingering question of inheriting philosophy in whatever form it might take, and what it means to think about inheritance and enact it.

The polysemous German word Geschlecht -- denoting gender, genre, kind, kinship, species, race, and somehow also more -- exemplifies the most pertinent questions of the translational, transdisciplinary, transhistorical, and transnational structures of the contemporary humanities: What happens when texts, objects, practices, and concepts are transferred or displaced from one language, tradition, temporality, or form to another? What is readily transposed, what resists relocation, and what precipitate emerges as distorted or new? Drawing on Barbara Cassin's transformative remarks on untranslatability, and the activity of “philosophizing in languages,� scholars contributing to The Geschlecht Complex examine these and other durable queries concerning the ontological powers of naming, and do so in the light of recent artistic practices, theoretical innovations, and philosophical incitements. Combining detailed case studies of concrete “category problems� in literature, philosophy, media, cinema, politics, painting, theatre, and the performing arts with a range of indispensable excerpts from canonical texts -- by notable, field-defining thinkers such as Apter, Cassin, Cavell, Derrida, Irigaray, Malabou, and Nancy, among others -- the volume presents “the Geschlecht complex� as a condition to become aware of, and in turn, to companionably underwrite any interpretive endeavor. Historically grounded, yet attuned to the particularities of the present, the Geschlecht complex becomes an invaluable mode for thinking and theorizing while ensconced in the urgent immediacy of pressing concerns, and poised for the inevitable complexities of categorial naming and genre discernment that await in the so often inscrutable, translation-resistant twenty-first century.

The spirit that founded the volume and guided its development is radically inter- and transdisciplinary. Dispatches have arrived from anthropology, communications, English, film studies (including theory, history, criticism), literary studies (including theory, history, criticism), media and screen studies, cognitive cultural studies, narratology, philosophy, poetics, politics, and political theory; and as a special aspect of the volume, theorist-filmmakers make their thoughts known as well. Consequently, the critical reflections gathered here are decidedly pluralistic and heterogeneous, inviting-not bracketing or partitioning-the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences (in so far as we are biological beings who are trying to track our cognitive and perceptual understanding of a nonbiological thing-namely, film, whether celluloid-based or in digital form); these disciplines, so habitually cordoned off from one another, are brought together into a shared conversation about a common object and domain of investigation. This book will be of interest to theorists and practitioners of nonfiction film; to emerging and established scholars contributing to the secondary literature; and to those who are intrigued by the kinds of questions and claims that seem native to nonfiction film, and who may wish to explore some critical responses to them written in engaging language.

When a work of art shows an interest in its own status as a work of art-either by reference to itself or to other works-we have become accustomed to calling this move "meta." While scholars and critics have, for decades, acknowledged reflexivity in films, it is only in Metacinema, for the first time, that a group of leading and emerging film theorists join to enthusiastically debate the meanings and implications of the meta for cinema. In new essays on generative films, including Rear Window, 8 1/2, Holy Motors, Funny Games, Fight Club, and Clouds of Sils Maria, contributors chart, explore, and advance the ways in which metacinema is at once a mode of filmmaking and a heuristic for studying cinematic attributes. What results is not just an engagement with certain practices and concepts in widespread use in the movies (from Hollywood to global cinema, from documentary to the experimental and avant-garde), but also the development of a veritable and vital new genre of film studies. With more and more films expressing reflexivity, recursion, reference to other films, mise-en-abime, seriality, and exhibiting related intertextual and intermedial traits, the time is overdue for the kind of capacious yet nuanced critical study found in Metacinema.

Some of the people who knew Stanley Cavell best--or know his work most intimately--are gathered in Inheriting Stanley Cavell to lend critical insight into the once and future legacy of this American titan of thought. Former students, colleagues, long-time friends, as well as distant admirers, explore moments when their personal experiences of Cavell’s singular philosophical and literary illuminations have, as he put it, “risen to the level of philosophical significance.� Many of the memories, dreams, and reflections on offer in this volume carry with them a welcome register of the autobiographical, expressing--much as Cavell did through his own writing--how the personal can become philosophical and thus provide a robust mode for the making of meaning and the clarifying of the human condition. Here, in varied styles and through a range of dynamic content, authors engage the lingering question of inheriting philosophy in whatever form it might take, and what it means to think about inheritance and enact it.

Stanley Cavell was, by many accounts, America's greatest philosophical thinker of film. Like Bazin in France and Perkins in England, Cavell did not just transform the American capacity to take film as a subject for philosophical criticism; he had to first invent that legitimacy. Part of that effort involved the creation of several key now-canonical texts in film studies, among them the seminal The World Viewed along with Pursuits of Happiness and Contesting Tears. The present collection offers, for the first time anywhere, a concerted effort mounted by some of today's most compelling writers on film to take careful account of Cavell's legacy. The contributors think anew about what precisely Cavell contributed, what holds up, what is in need to revision or updating, and how his writing continues to be of vital significance and relevance for any contemporary approach to the philosophy of film.