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Havi, if discussions center on a particular film, then you are centering on the philosophies of that particular filmmaker and the milieu within which he and the film exist. If you take the broader approach and focus on film-philosophy in general, then it allows you to step back and see the subject (film-philosophy) in the context of; history, film genres, social/political influences, etc. More important than all of that for me; is where philosophic underpinnings in film will go from here. Film and art respond to milieu. Previously film-philosophy had nice little pockets of contained genres that grew out of a certain time and place. We now have a global milieu. For me, it is far more relevant to take the generalized but focused approached and investigate signs of how philosophy is currently responding to the global milieu and then look to where those responses point. Regards, Rebecca On Feb 28, 2010, at 4:31 AM, Havi Carel wrote: > 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 > > Tel.: +44 (0)117 907 9359 > > URL: http://www.uwe.ac.uk/hlss/politics/staff_hcarel.shtml > > > Every year more than 1,000 people in the UK die waiting for a > transplant. > Are you an organ donor? If not, go to > http://www.uktransplant.org.uk/ukt/how_to_become_a_donor/how_to_become_a_donor.jsp > ________________________________________ > 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. > > * > * > Film-Philosophy salon > After hitting 'reply' please always delete the text of the message > you are replying to > To leave, send the message: leave film-philosophy to: [log in to unmask] > Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html > For technical help email: [log in to unmask], not the salon > * > Film-Philosophy online: http://www.film-philosophy.com > Contact: [log in to unmask] > ** > > > This incoming email to UWE has been independently scanned for > viruses by McAfee anti-virus software and none were detected > > This email was independently scanned for viruses by McAfee anti- > virus software and none were found * * Film-Philosophy salon After hitting 'reply' please always delete the text of the message you are replying to To leave, send the message: leave film-philosophy to: [log in to unmask] Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html For technical help email: [log in to unmask], not the salon * Film-Philosophy online: http://www.film-philosophy.com Contact: [log in to unmask] **