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Beloved by film and art aficionados and fans of neo-noir cinema,
Mulholland Drive is one of the most important and enigmatic films
of recent years. It occupies a central and controversial position
in the work of its director, David Lynch, who won the best director
award at the 2001 Cannes Film Festival for the movie. Mulholland
Drive in the Routledge Philosophers on Film series is the first
full philosophical appraisal of Lynch's film. Beginning with an
introduction by the editor, the volume explores the following
topics: the identity of the self and its persistence through time
the central, dual roles played by fantasy and reality throughout
the film whether Mulholland Drive is best understood
epistemologically via reason and language, or whether, as Lynch
himself argues, by one's 'inner feelings' and emotions parallels
between Mulholland Drive and Kafka's The Castle, both of which pit
their protagonists at the mercy of unseen forces Mulholland Drive
and romanticism. Additional key themes are also discussed, such as
the interpenetration of ethics, classical tragedy, and the
contrasting philosophical arguments of Plato and Nietzsche on
tragic drama. These themes make Mulholland Drive essential and
engaging reading for students of philosophy, especially aesthetics
and ethics, as well as film studies.
Beloved by film and art aficionados and fans of neo-noir cinema,
Mulholland Drive is one of the most important and enigmatic films
of recent years. It occupies a central and controversial position
in the work of its director, David Lynch, who won the best director
award at the 2001 Cannes Film Festival for the movie. Mulholland
Drive in the Routledge Philosophers on Film series is the first
full philosophical appraisal of Lynch's film. Beginning with an
introduction by the editor, the volume explores the following
topics: the identity of the self and its persistence through time
the central, dual roles played by fantasy and reality throughout
the film whether Mulholland Drive is best understood
epistemologically via reason and language, or whether, as Lynch
himself argues, by one's 'inner feelings' and emotions parallels
between Mulholland Drive and Kafka's The Castle, both of which pit
their protagonists at the mercy of unseen forces Mulholland Drive
and romanticism. Additional key themes are also discussed, such as
the interpenetration of ethics, classical tragedy, and the
contrasting philosophical arguments of Plato and Nietzsche on
tragic drama. These themes make Mulholland Drive essential and
engaging reading for students of philosophy, especially aesthetics
and ethics, as well as film studies.
Plato's Symposium is an exceptionally multi-layered dialogue. At
once a historical document, a philosophical drama that enacts
abstract ideas in an often light-hearted way, and a literary
masterpiece, it has exerted an influence that goes well beyond the
confines of philosophy. The essays in this volume, by leading
scholars, offer detailed analyses of all parts of the work,
focusing on the central and much-debated theme of eros or 'human
desire' - which can refer both to physical desire or desire for
happiness. They reveal thematic continuities between the prologue
and the various speeches as well as between the speeches
themselves, and present a rich collection of contrasting yet
complementary readings of Diotima's speech. The volume will be
invaluable for classicists and philosophers alike, and for all who
are interested in one of Plato's most fascinating and challenging
dialogues.
Plato's Symposium is an exceptionally multi-layered dialogue. At
once a historical document, a philosophical drama that enacts
abstract ideas in an often light-hearted way, and a literary
masterpiece, it has exerted an influence that goes well beyond the
confines of philosophy. The essays in this volume, by leading
scholars, offer detailed analyses of all parts of the work,
focusing on the central and much-debated theme of eros or 'human
desire' - which can refer both to physical desire or desire for
happiness. They reveal thematic continuities between the prologue
and the various speeches as well as between the speeches
themselves, and present a rich collection of contrasting yet
complementary readings of Diotima's speech. The volume will be
invaluable for classicists and philosophers alike, and for all who
are interested in one of Plato's most fascinating and challenging
dialogues.
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