The collection brings together a wide range of contributors, including both philosophers and film scholars. All of them address the question of whether philosophy can take the form of, or be articulated through, film.
- A new text for the growing field of philosophy of film, engaging with a variety of questions concerning the relationship between film and art, aesthetics and philosophy.
- Explores a wide variety of forms and periods of film, such as the avant-garde, continental film and popular American cinema, to present diverse answers to this question.
- Draws on a range of films, from the works of Hitchcock to Mission: Impossible and Being John Malkovich.
Preface.
Murray Smith and Thomas E. Wartenberg - Introduction.
I. The Very Idea of Film as Philosophy.
Paisley Livingston - These on Cinema as Philosophy.
Thomas E. Wartenberg - Beyond mere Illustration: How Films Can Be Philosophy.
Murray Smith - Film Art, Argument, and Ambiguity.
II. Popular American Film: Entertainment and Enlightenment.
Richard Allen - Hitchcock and Cavell.
Lester H. Hunt The Paradox of the Unknown Lover: A Reading of Letter from an Unknown Woman.
Dan Flory - Spike Lee and the Sympathetic Racist.'.
George Wilson - Transparency and Twist in Narrative Fiction Film.
Stephen Mulhall - The Impersonation of Personality: Film as Philosophy in Mission: Impossible.
Daniel Shaw - On being Philosophical and Being John Malkovich.
Christopher Grau - eternal Sunshine of the Spotless Mind and the Morality of Memory.
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