One issue I have been interested in lately is the following:
Some people think that film-philosophy ought to be developed as a general program; others insist that the way to 'do' film-philosophy is by specific readings of specific films or even scenes (e.g. Mulhall).
I was wondering if anyone had any thoughts on whether film-philosophy is better developed as a general program, or whether it is better developed in a more piecemeal fashion, by engaging with specific film/ scenes and avoiding claims about film in general.
In other words - is film-philosophy a generalisable approach or should philosophical readings of film be tailored only to and limited to a specific film?
(This is not to say that there is only one type of film-philosophy, or that I am only endorsing philosophical readings of film as film-philosophy. This is simply a specific issue I have been thinking about lately.)
Best wishes
Havi
---
Dr Havi Hannah Carel
Senior Lecturer in Philosophy
Faculty of Social Sciences and Humanities
University of the West of England
St Matthias Campus
Oldbury Court Road
Fishponds
Bristol BS16 2JP
UK
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________________________________________
From: Film-Philosophy Salon [[log in to unmask]] On Behalf Of William Brown [[log in to unmask]]
Sent: 27 February 2010 11:29
To: [log in to unmask]
Subject: New Title: Moving People, Moving Images: Cinema and Trafficking in the New Europe
Dear friends and colleagues,
I am writing to announce the release of Moving People, Moving Images:
Cinema and Trafficking in the New Europe by William Brown, Dina
Iordanova, and Leshu Torchin.
I hope this is of interest to you.
***
Moving People, Moving Images: Cinema and Trafficking in the New Europe
ISBN (13): 978-1-9066-7803-6 (paperback)
Price £17.99 (UK), $29.00 (US)
257pp.
Available for purchase from: http://www.st-andrews.ac.uk/filmbooks
In the past decade, the dramatic rise in migration and the demise of
national borders across the ‘new’ Europe have helped to turn human
traffic into one of the dominant narratives of contemporary cinema.
Moving People, Moving Images focuses on the current cycle of films
that play upon global anxieties about trafficking and reflects on
recent films that depict white slavery, drug trafficking and
undocumented labour. The volume considers a range of films including
the work of internationally renowned directors such as Promised Land
(Amos Gitaï), Lorna’s Silence (the Dardenne Brothers) and Ghosts (Nick
Broomfield), popular genres such as Taken (Pierre Morel), and lesser
known but unquestionably important works such as The Bus (Tunç Okan)
and When Mother Comes Home for Christmas (Nilita Vachani).
***
‘Moving People, Moving Images is a groundbreaking and much-needed
study of the intersections between film and human trafficking… This
volume is both a complete and valuable teaching tool, and a precious
resource for future research, and sets the agenda for more work in
this all-important area.’
--- Laura Rascaroli, University College Cork, Ireland
‘One of the attractions of this book is precisely that it refuses to
tread lightly and tentatively across the well-established divide
between cinematic representations and socio-political issues. It makes
a provocative argument for the political effect of films and proposes
that human trafficking should not be the rightful, let alone the
exclusive, domain of governments, NGOs, activist organizations and the
social sciences.’
-- Aniko Imre, University of Southern California
***
About the authors:
William Brown teaches Film Studies at the University of St Andrews.
His research interests include digital technology and cinema,
cognitive approaches to cinema, and transnational cinema. His work
has been published in various journals and edited collections, and he
is the co-editor of Deleuze and Film (Edinburgh University Press,
2011). He is the editor/manager of the collaborative film blog,
http://cinemasalon.ning.com.
Dina Iordanova has built an academic career as a specialist on the
cinema of Eastern Europe and the Balkans. Her more recent work is
focused on business models and distribution patterns within the
international film industries. She is Director of the Centre for Film
Studies at the University of St Andrews in Scotland, where she leads
The Leverhulme Trust-funded project ‘Dynamics of World Cinema’
(www.st-andrews.ac.uk/worldcinema). She is also the editor and
publisher of the Film Festival Yearbook (FFY) series, which has
recently released Film Festival Yearbook 2: Film Festivals and
Imagined Communities. Her recent work appears in Cinema at the
Periphery (2010) and her blog, Dinaview.com.
Leshu Torchin teaches Film Studies at the University of St Andrews.
Her research focus is on screen media, advocacy, and human rights. Her
work has appeared in a range of publications including Third Text,
Film & History, American Anthropologist, and Cineaste and in
collections such as The Image and the Witness: Trauma, Memory and
Visual Culture (Wallflower, 2007). She is currently completing her
book project, Creating the Witness: Genocide in the Age of Film, Video
and the Internet.
*
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