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Understanding Hegelianism explores the ways in which Hegelian and
anti-Hegelian currents of thought have shaped some of the most
significant movements in twentieth-century European philosophy,
particularly the traditions of critical theory, existentialism,
Marxism, and poststructuralism. Robert Sinnerbrink begins with an
examination of Kierkegaard's existentialism and Marx's materialism.
He looks at the contrasting critiques of Hegel by Lukacs and
Heidegger as well as the role of Hegelian themes in the work of
Adorno, Habermas, and Honneth. Sinnerbrink also considers the rich
tradition of Hegelianism in modern French philosophers such as
Wahl, Kojeve, Hyppolite, Lefebvre, Sartre, de Beauvoir, and Derrida
and Deleuze, who articulated a radical critique of
Hegelianism.Throughout Understanding Hegelianism Sinnerbrink
foregrounds the Hegelian themes of the unhappy consciousness, the
master/slave dialectic, and the struggle for recognition and shows
how each has provided fertile concepts for both the development of
German critical theory and for French philosophy. He examines the
problem of modernity, theories of recognition, and the
deconstruction of metaphysics in order to show the legacy of
Hegelian thought and also explores some of the recent developments
in Anglophone Hegelianism.
Understanding Hegelianism explores the ways in which Hegelian and
anti-Hegelian currents of thought have shaped some of the most
significant movements in twentieth-century European philosophy,
particularly the traditions of critical theory, existentialism,
Marxism, and poststructuralism. Robert Sinnerbrink begins with an
examination of Kierkegaard's existentialism and Marx's materialism.
He looks at the contrasting critiques of Hegel by Lukacs and
Heidegger as well as the role of Hegelian themes in the work of
Adorno, Habermas, and Honneth. Sinnerbrink also considers the rich
tradition of Hegelianism in modern French philosophers such as
Wahl, Kojeve, Hyppolite, Lefebvre, Sartre, de Beauvoir, and Derrida
and Deleuze, who articulated a radical critique of
Hegelianism.Throughout Understanding Hegelianism Sinnerbrink
foregrounds the Hegelian themes of the unhappy consciousness, the
master/slave dialectic, and the struggle for recognition and shows
how each has provided fertile concepts for both the development of
German critical theory and for French philosophy. He examines the
problem of modernity, theories of recognition, and the
deconstruction of metaphysics in order to show the legacy of
Hegelian thought and also explores some of the recent developments
in Anglophone Hegelianism.
What can philosophy teach us about cinema? Can cinema transform how
we understand philosophy? How should we describe the competing
approaches to philosophizing on film? New Philosophies of Film
answers these questions by offering a lucid introduction to the
exciting developments and contentious debates within the philosophy
of film. Mapping out the conceptual terrain, it examines both
analytic and continental approaches to cinema and puts forward a
pluralist film philosophy, grounded in practical examples from
film, documentaries and television series. Now thoroughly updated
to showcase the most recent developments in the field, this 2nd
edition features: · New chapters on phenomenology, cinematic
ethics, philosophical documentary film and television as
philosophy, incorporating feminist, socio-political, ethical and
ecological approaches to cinema · Contemporary case studies
including Carol, Roma, Melancholia, two Derrida documentaries, and
the Netflix series Black Mirror · Expanded coverage of Gilles
Deleuze and Stanley Cavell, two of the most influential
philosophers of film · An updated bibliography, filmography and
reading lists, with links to online resources to support further
study Demonstrating how the film-philosophy encounter can open up
new paths for thinking, New Philosophies of Film is an essential
resource for putting interdisciplinary inquiry into practice.
How do movies evoke and express ethical ideas? What role does our
emotional involvement play in this process? What makes the
aesthetic power of cinema ethically significant? Cinematic Ethics:
Exploring Ethical Experience through Film addresses these questions
by examining the idea of cinema as a medium of ethical experience
with the power to provoke emotional understanding and philosophical
thinking. In a clear and engaging style, Robert Sinnerbrink
examines the key philosophical approaches to ethics in contemporary
film theory and philosophy using detailed case studies of cinematic
ethics across different genres, styles, and filmic traditions.
Written in a lucid and lively style that will engage both
specialist and non-specialist readers, this book is ideal for use
in the academic study of philosophy and film. Key features include
annotated suggestions for further reading at the end of each
chapter and a filmography of movies useful for teaching and
researching cinematic ethics.
Contemporary Screen Ethics focuses on the intertwining of the
ethical with the socio-political, considering such topics as: care,
decolonial feminism, ecology, histories of political violence,
intersectionality, neoliberalism, race, and sexual and gendered
violence. The collection advocates looking anew at the global
complexity and diversity of such ethical issues across various
screen media: from Netflix movies to VR, from Chinese romcoms to
Brazilian pornochanchadas, from documentaries to drone warfare,
from Jordan Peele movies to Google Earth. The analysis exposes the
ethical tension between the inclusions and exclusions of global
structural inequality (the identities of the haves, the absences of
the have nots), alongside the need to understand our collective
belonging to the planet demanded by the climate crisis. Informing
the analysis, established thinkers like Deleuze, Irigaray, Jameson
and Ranciere are joined by an array of different voices - Ferreira
da Silva, Gill, Lugones, Milroy, Munoz, Sheshadri-Crooks, Verges -
to unlock contemporary screen ethics.
How do movies evoke and express ethical ideas? What role does our
emotional involvement play in this process? What makes the
aesthetic power of cinema ethically significant? Cinematic Ethics:
Exploring Ethical Experience through Film addresses these questions
by examining the idea of cinema as a medium of ethical experience
with the power to provoke emotional understanding and philosophical
thinking. In a clear and engaging style, Robert Sinnerbrink
examines the key philosophical approaches to ethics in contemporary
film theory and philosophy using detailed case studies of cinematic
ethics across different genres, styles, and filmic traditions.
Written in a lucid and lively style that will engage both
specialist and non-specialist readers, this book is ideal for use
in the academic study of philosophy and film. Key features include
annotated suggestions for further reading at the end of each
chapter and a filmography of movies useful for teaching and
researching cinematic ethics.
Since the early 1990s, phenomenology and cognitivism have become
two of the most influential approaches to film theory. Yet far from
being at odds with each other, both approaches offer important
insights on our subjective experience of cinema. Emotions, Ethics,
and Cinematic Experience explores how these two approaches might
work together to create a philosophy of film that is both
descriptively rich and theoretically productive by addressing the
key relationship between cinematic experience, emotions, and
ethics.
Since the early 1990s, phenomenology and cognitivism have become
two of the most influential approaches to film theory. Yet far from
being at odds with each other, both approaches offer important
insights on our subjective experience of cinema. Emotions, Ethics,
and Cinematic Experience explores how these two approaches might
work together to create a philosophy of film that is both
descriptively rich and theoretically productive by addressing the
key relationship between cinematic experience, emotions, and
ethics.
For the first time this volume makes Jean-Pierre Meunier's
insightful thoughts on the film experience available for an
English-speaking readership. Introduced and commented by
specialists in film studies and philosophy, Meunier's intricate
phenomenological descriptions of the spectator's engagement with
fiction films, documentaries and home movies can reach the wide
audience they have deserved ever since their publication in French
in 1969.
What can philosophy teach us about cinema? Can cinema transform how
we understand philosophy? How should we describe the competing
approaches to philosophizing on film? New Philosophies of Film
answers these questions by offering a lucid introduction to the
exciting developments and contentious debates within the philosophy
of film. Mapping out the conceptual terrain, it examines both
analytic and continental approaches to cinema and puts forward a
pluralist film philosophy, grounded in practical examples from
film, documentaries and television series. Now thoroughly updated
to showcase the most recent developments in the field, this 2nd
edition features: · New chapters on phenomenology, cinematic
ethics, philosophical documentary film and television as
philosophy, incorporating feminist, socio-political, ethical and
ecological approaches to cinema · Contemporary case studies
including Carol, Roma, Melancholia, two Derrida documentaries, and
the Netflix series Black Mirror · Expanded coverage of Gilles
Deleuze and Stanley Cavell, two of the most influential
philosophers of film · An updated bibliography, filmography and
reading lists, with links to online resources to support further
study Demonstrating how the film-philosophy encounter can open up
new paths for thinking, New Philosophies of Film is an essential
resource for putting interdisciplinary inquiry into practice.
Many critics have approached Terrence Malick's work from a
philosophical perspective, arguing that his films express
philosophy through cinema. With their remarkable images of nature,
poetic voiceovers, and meditative reflections, Malick's cinema
certainly invites philosophical engagement. In Terrence Malick:
Filmmaker and Philosopher, Robert Sinnerbrink takes a different
approach, exploring Malick's work as a case of cinematic ethics:
films that evoke varieties of ethical experience, encompassing
existential, metaphysical, and religious perspectives. Malick's
films are not reducible to a particular moral position or
philosophical doctrine; rather, they solicit ethically significant
forms of experience, encompassing anxiety and doubt, wonder and
awe, to questioning and acknowledgment, through aesthetic
engagement and poetic reflection. Drawing on a range of thinkers
and approaches from Heidegger and Cavell, Nietzsche and
Kierkegaard, to phenomenology and moral psychology Sinnerbrink
explores how Malick's films respond to the problem of nihilism the
loss of conviction or belief in prevailing forms of value and
meaning and the possibility of ethical transformation through
cinema: from self-transformation in our relations with others to
cultural transformation via our attitudes towards towards nature
and the world. Sinnerbrink shows how Malick's later films, from The
Tree of Life to Voyage of Time, provide unique opportunities to
explore cinematic ethics in relation to the crisis of belief, the
phenomenology of love, and film's potential to invite moral
transformation.
The relationship between film and philosophy has become a topic of
intense intellectual interest. But how should we understand this
relationship? Can philosophy renew our understanding of film? Can
film challenge or even transform how we understand philosophy? New
Philosophies of Film explores these questions in relation to both
analytic and Continental philosophies of film, arguing that the
best way to overcome their mutual antagonism is by constructing a
more pluralist film-philosophy grounded in detailed engagement with
particular films. Sinnerbrink not only provides lucid critical
analyses of the exciting developments and contentious debates in
the new philosophies of film, but also showcases how a pluralist
film-philosophy works in the case of three challenging contemporary
filmmakers: David Lynch, Lars von Trier, and Terrence Malick. New
Philosophies of Film thus puts interdisciplinary film -philosophy
into practice, and should be of great interest to students and
researchers working across the disciplines of philosophy, film
studies, and cultural studies.
This title gives a critical exploration of analytic and Continental
philosophies of film, which puts film-philosophy into practice with
detailed discussions of three filmmakers. The relationship between
film and philosophy has become a topic of intense intellectual
interest. But how should we understand this relationship? Can
philosophy renew our understanding of film? Can film challenge or
even transform how we understand philosophy? "New Philosophies of
Film" explores these questions in relation to both analytic and
Continental philosophies of film, arguing that the best way to
overcome the mutual antagonism between these approaches is by
constructing a more pluralist film-philosophy grounded in detailed
engagement with particular films and filmmakers. Sinnerbrink not
only provides lucid critical analyses of the exciting developments
and contentious debates in the new philosophies of film, but also
showcases how a pluralist film-philosophy works in the case of
three challenging contemporary filmmakers: Terrence Malick, David
Lynch, and Lars von Trier. "New Philosophies of Film" thus puts
interdisciplinary inquiry on film and philosophy into practice, and
should be of great interest to students and researchers working
across the disciplines of philosophy, film theory, and cultural
studies.
Many critics have approached Terrence Malick's work from a
philosophical perspective, arguing that his films express
philosophy through cinema. With their remarkable images of nature,
poetic voiceovers, and meditative reflections, Malick's cinema
certainly invites philosophical engagement. In Terrence Malick:
Filmmaker and Philosopher, Robert Sinnerbrink takes a different
approach, exploring Malick's work as a case of cinematic ethics:
films that evoke varieties of ethical experience, encompassing
existential, metaphysical, and religious perspectives. Malick's
films are not reducible to a particular moral position or
philosophical doctrine; rather, they solicit ethically significant
forms of experience, encompassing anxiety and doubt, wonder and
awe, to questioning and acknowledgment, through aesthetic
engagement and poetic reflection. Drawing on a range of thinkers
and approaches from Heidegger and Cavell, Nietzsche and
Kierkegaard, to phenomenology and moral psychology Sinnerbrink
explores how Malick's films respond to the problem of nihilism the
loss of conviction or belief in prevailing forms of value and
meaning and the possibility of ethical transformation through
cinema: from self-transformation in our relations with others to
cultural transformation via our attitudes towards towards nature
and the world. Sinnerbrink shows how Malick's later films, from The
Tree of Life to Voyage of Time, provide unique opportunities to
explore cinematic ethics in relation to the crisis of belief, the
phenomenology of love, and film's potential to invite moral
transformation.
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