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Bill, as usual, asks the right questions here.  Film-philosophy should be an umbrella term that includes the philosophy of film, applications of philosophical theories to film, and attempts to show how films can act as challenges to traditional philosophical theories.  His remarks abour theoretical vs. applied ethics are right on target...proposed theories get revised in light of problems with applications to particular situations.  So it should be in discussing film-philosophy.

As to whether we should think of film-philosophy as a branch of aesthetics, I have always, e.g., considered existentialist readings of films as part of aesthetics.  Indeed, existentialists like Nietzsche, Heidegger and Camus put art at the center of the human project of creating meaning in a meaningless universe.  For them, there may be no higher pursuit.    

Daniel Shaw
Professor of Philosophy and Film
Lock Haven University     (570) 484-2052
Managing Editor, Film and Philosophy

"And remember you are more authentic the closer you are to the person you dreamed of being"

Pedro Almodovar's All About My Mother
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From: Film-Philosophy Salon [[log in to unmask]] On Behalf Of Bill Pamerleau [[log in to unmask]]
Sent: Monday, March 01, 2010 12:55 PM
To: [log in to unmask]
Subject: Re: Film and philosophy: general vs specific methodology

I think this reference to applied philosophy is very relevant to the
discussion.  Consider ethics, in which the 'applied' v. 'theory'
distinction is very pronounced.  Theories are forced to evolve precisely
because of inadequacies in their application.  Utilitarianism is an
obvious example.  Similarly in film theory generally, problems arise
with the theory as a result of its practice.  Note how much of the
backlash against auteur theory arose from the 'practice' of auteur
critics.
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