FILM-PHILOSOPHY

Dunkirk (Christopher Nolan, 2017)

2017-18

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Film-Philosophy: 2017-18 CLLC11149

Seminar A: Tuesdays 11:10 – 13:00 (G.16, 7 Bristo Square) Seminar B: Wednesdays 11.10 – 13:00 (G.01, 50 George Square) Screening: Wednesdays 15.10 – 17:00 (Screening Room, 50 George Square)

Lecturer: Dr David Sorfa

Week 1 Film and Philosophy: Beyond the Thought Experiment Extracts from: Waking Life (Richard Linklater, 2001)

Week 2 Gilles Deleuze 1: The Movement-Image To Be or Not to Be (Ernst Lubitsch, 1942) - 99 mins

Week 3 Gilles Deleuze 2: The Time-Image Dunkirk (Christopher Nolan, 2017) – 106 mins

Week 4 Jacques Derrida on Film Derrida (Kirby Dick, Amy Ziering, 2002) - 85 mins

Derrida’s Elsewhere / D’ailleurs, Derrida (Safaa Fathy, 1999) - 68 mins (watch in own time)

Week 5 Film and Phenomenology The Grandmaster / Yi dai zong shi (Wong Kar-Wai, 2013) - 105 mins

Flexible Learning Week (19 Feb - 23 Feb): No classes or screenings

Week 6 Existentialism and Cinema The Fountainhead (King Vidor, 1949) – 114 mins

Week 7 Film, Ethics and Morality: The Problem of Immoral Characters Monsieur Verdoux (Charles Chaplin, 1947) - 124 mins

Week 8 Film and Identity: The Philosophy of Mind The Manchurian Candidate (John Frankenheimer, 1962) - 126 mins

Week 9 Film, Emotion and Belief Brother Sun, Sister Moon (Franco Zeffirelli, 1972) - 122 mins

Week 10 The Philosophy and Paradox of Fiction Trans-Europ-Express (Alain Robbe-Grillet, 1966) - 105 mins

4000 word essay: Due 19 April 2018 (4pm: online submission only)

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Film-Philosophy 2015-16

Film-Philosophy is one of the most important developments in contemporary film theory and uses approaches from philosophy to study film. The Film-Philosophy course gives an introduction to core philosophical concepts through film examples and also explores the possibility that films themselves have the ability to present unique philosophical thought.

Philosophy here is broadly defined and includes the continental theory tradition.

This year we will ask various philosophical questions and explore how film helps us to understand them: In what ways do films act as philosophical thought experiments? How do we know what is real and who we really are? What does it mean to have a mind (or a body)? What are emotions and how does film allow us to experience them? What does it mean to take fiction seriously? How does cinema present moral and ethical problems? What is belief? What is fiction and what is it for?

We will also consider the work of some of the foundational thinkers in film-philosophy, especially Gilles Deleuze whose two Cinema books published in the 1980s are often seen as the foundation of the discipline of film-philosophy.

Course Lecturer:

Dr David Sorfa (Course Organiser): 4.03 (50 GS) - david.sorfa@ed.ac.uk

Office Hour: Tuesdays 2pm - 3pm or by appointment.

Learning Outcomes:

By the end of the course you should:

• Be aware of some major philosophical concepts as they are presented through cinema.

• Be able to apply philosophical approaches to the criticism and analysis of film. • Understand how film can be seen as philosophy.

Timetable:

See https://browser.ted.is.ed.ac.uk/generate?courses[]=CLLC11149_SS1_SEM2

Course Reading:

Most readings will be available via Learn. You will be expected to have read the essential texts set for each week before that week’s seminar. You should bring a copy of the main texts under discussion to the seminars – either on a tablet or laptop or printed out.

https://eu01.alma.exlibrisgroup.com/leganto/public/44UOE_INST/lists/12749435410002466?auth=SAML

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Presentations:

The seminars will involve presentations of 15-20 minutes (maximum) on the films and texts indicated in the list proposed below. They should typically include: a discussion of a film (either the screened film or one of your choosing) in connection to the texts read.

If you choose to screen extracts from films as part of your presentation, we suggest 2 minutes as the maximum clip length. You should consider using only frame grabs.

Please contact the students presenting in the same week regarding the content of your presentation in order to avoid repetition. You may use the material investigated for your presentation in essays and dissertations.

Learn:

Readings will be available via Learn and you should submit your essay via Learn as well. We also use Learn to provide further reading, announcements and relevant links. Please check in to Learn at least a couple of times a week.

https://www.learn.ed.ac.uk/

Assessment:

Formative Assessment: You will be given feedback on your presentations and we will also give advice on any submitted essay plans. Every lecturer has set office hours each week and you are encouraged to drop by and discuss your presentation, essay or any academic issues related to the course. Please see Learn for details of our office hours. Summative Assessment: The course is assessed by: 1 x 4000 word essay (excluding bibliography) Due: Thursday 19 April 2018 by 4pm. No hard copy necessary! You are only required to hand in a properly referenced and formatted electronic copy of your essay via Learn. Essay writing guidelines are available on Learn.

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Film-Philosophy: Reading

These readings and more can be accessed here: https://eu01.alma.exlibrisgroup.com/leganto/public/44UOE_INST/lists/127494354100

02466?auth=SAML

Week 1

Seminar: Introduction: Film and Philosophy Beyond the Thought Experiment

Screening: [In the seminar] Extracts from: Waking Life (Richard Linklater, 2001) and After the Dark / The Philosophers (John Huddles, 2013)

Essential Reading:

Falzon, Christopher (2013) “Philosophy Through Film”, Internet Encyclopedia of Philosophy. < http://www.iep.utm.edu/phi-film>

Livingston, P. (2006). Theses on Cinema as Philosophy. The

Journal of Aesthetics and Art Criticism, 64(1), 11–18

Important Reading:

Andersen, Nathan (2014) “Plato’s Cave and Cinema” in Shadow Philosophy: Plato’s Cave and Cinema. London and New York: Routledge, pp. 34-55.

Cavell, Stanley (1983/2005) “The Thought of Movies” in

Cavell on Film. Ed. William Rothman. Albany: State University Press of New York, pp. 87-106.

Sinnerbrink, R. (2011) 'Why Did Philosophy Go to the

Movies?' in New Philosophies of Film: Thinking Images. London: Continuum. pp. 1–30.

Wartenberg, Tomas E. (2007) “Can Philosophy Be

Screened?” Thinking on Screen: Film as Philosophy. London and New York: Routledge, pp. 1-14.

Further

Reading: Bauer, Nancy (2005) “Cogito Ergo Film: Plato, Descartes

and Fight Club” in Film as Philosophy: Essays in Cinema After Wittgenstein and Cavell. Eds. Rupert Read and Jerry Goodenough. London: Palgrave Macmillan, pp. 39-56.

Falzon, Christopher (2015) “Plato’s Picture Show – The

Theory of Knowledge” in Philosophy Goes to the Movies: An Introduction to Philosophy. 3rd edt. London and New York: Routledge, pp. 27-70.

Week 2

Seminar: Gilles Deleuze Part 1: The Movement-Image

Screening: To Be or Not to Be (Ernst Lubitsch, 1942) - 99 mins

Further viewing:

Dance, Girl, Dance (Dorothy Arzner, 1940)

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Essential

Reading: Deleuze, Gilles (1986) Cinema 1: The Movement Image.

London: The Athlone Press, 1986, pp. ‘Contents’; ix-xiv; 61-70; 141-177; 205-215.

Rushton, Richard and Gary Bettinson (2010) “"Philosophers

and Film: Gilles Deleuze and Stanley Cavell" in What is Film Theory. Maidenhead: Open University Press, pp.111-119.

Further

Reading: Deleuze, Gilles (1986) Cinema 1: The Movement Image,

London: The Athlone Press. Deamer, David (2016) Deleuze’s Cinema Books: Three

Introductions to the Taxonomy of Images. Edinburgh, Edinburgh University Press.

Martin-Jones, David and Damian Sutton (2008) Deleuze

Reframed: A Guide for the Arts Student. London, I.B. Tauris.

Week 3

Seminar: Gilles Deleuze Part 2: The Time-Image

Screening: Dunkirk (Christopher Nolan, 2017) – 106 mins

Further viewing:

The Reincarnation of Golden Lotus aka This Day, Previous Life (Clara Law, 1989)

Essential Reading:

Extracts from Cinema 2: The Time Image, Giles Deleuze. London: The Athlone Press, 1989, pp. ‘Contents’; xi-xiii; 1-13; 98-105; 270-280.

Rushton, Richard and Gary Bettinson (2010) “"Philosophers

and Film: Gilles Deleuze and Stanley Cavell" in What is Film Theory. Maidenhead: Open University Press, pp. pp.119-123.

Further

Reading: Giles Deleuze, Cinema 2: The Time Image, London, The

Athlone Press, 1989. Deamer, David (2016) Deleuze’s Cinema Books: Three

Introductions to the Taxonomy of Images. Edinburgh, Edinburgh University Press.

Martin-Jones, David and Damian Sutton (2008) Deleuze

Reframed: A Guide for the Arts Student. London, I.B. Tauris.

Week 4 Seminar: Jacques Derrida on Film

Screening: Derrida (Kirby Dick, Amy Ziering, 2002) - 85 mins

Derrida’s Elsewhere / D’ailleurs, Derrida (Safaa Fathy, 1999)

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- 68 mins (Watch in own time - available on YouTube)

Essential Reading:

Derrida, Jacques and De Baecque, Antonie (2015) “Cinema and Its Ghosts: An Interview with Jacques Derrida”, Discourse, 37 (1), 22–39.

Sinnerbrink, Robert (2016) “Photobiographies: The ‘Derrida’

Documentaries as Film-Philosophy”, NECSUS: European Journal of Media Studies. https://necsus-ejms.org/photobiographies-derrida-documentaries-film-philosophy/

Brunette, Peter and Wills, David (1989) Screen/Play : Derrida

and Film Theory. Princeton : Princeton University Press.

Further Reading:

Byrne, Eleanor and McQuillan, Martin 1999.) Deconstructing Disney. London: Pluto Press.

Cahill, J.L. (ed. and intro.) (2015) Derrida and Cinema

[Special Issue]. Discourse: Journal for Theoretical Studies in Media and Culture. 37 (1-2), 3–171.

Callaghan Joanna and McQuilland, Martin (2014) Love in the

Post: From Plato to Derrida: The Screenplay and Commentary. London: Rowman & Littlefield.

Derrida, Jacques (1987) The Truth in Painting. Translated by

Geoff Bennington and Ian McLeod. Chicago: University of Chicago Press.

Dick, Kirby (2005) Screenplay and Essays on the Film

Derrida. Routledge. Week 5 Seminar: Film and Phenomenology

Screening: The Grandmaster / Yi dai zong shi (Wong Kar-Wai, 2013)

Further

viewing:

Sweet Bean (Naomi Kawase, 2015)

Essential Reading:

Barker, Jennifer M. (2009) “Introduction: Eye Contact”, The Tactile Eye: Touch and the Cinematic Experience. Los Angeles: University of California Press, pp. 1-23.

Merleau-Ponty, Maurice (1964) “Film and the New

Psychology,” in Sense and Non-Sense, trans. Hubert L. Dreyfus and Patricia Allen Dreyfus. Chicago: Northwestern University Press, pp.48-59.

Sorfa, David (2015) “Phenomenology and Film” in The

Routledge Encyclopedia of Film, Edward Branigan and Warren Buckland eds. Oxford and New York: Routledge, pp. 353-358.

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Further Reading:

Casebier, Allan (1991) Film and Phenomenology: Toward A Realist Theory of Cinematic Representation. Cambridge, Cambridge University Press.

Ferencz-Flatz, C. and Hanich, J. (2016) “Editors'

Introduction: What is Film Phenomenology?”, Studia Phaenomenologica, 16, pp. 11-61.

Marks, Laura U. (2000) The Skin of the: Film Intercultural

Cinema, Embodiment, and the Senses. Durham, Duke University Press.

Sobchack, Vivian (1992) The Address of the Eye: A

Phenomenology of Film Experience. Princeton, N.J., Princeton University Press.

FLEXIBLE LEARNING WEEK: NO CLASSES OR SCREENINGS (19 Feb - 23 Feb) Week 6 Seminar: Existentialism and Cinema

Screening: The Fountainhead (King Vidor, 1949) – 114 mins

Further

viewing:

Morvern Callar (Lynne Ramsay, 2002)

Essential Reading:

Shaw, Daniel (2017) “Introduction: Why Existentialism and Film” and “Howard Rourke as Nietzschean Overman in The Fountainhead”, Movies with Meaning: Existentialism through Film. London: Bloomsbury, pp. 1-9; 65-84.

Wartenberg, Thomas (2008) “Introduction” and “Existence”,

Existentialism: A Beginner’s Guide. Oxford: Oneworld, pp. 1-30.

Further Reading:

Boulé, Jean-Pierre and Enda McCaffrey. (2011). Existentialism and contemporary cinema: A Sartrean perspective. New York ; Oxford: Berghahn.

Boulé, Jean-Pierre and Ursula Tidd. (2012). Existentialism and contemporary cinema: A Beauvoirian perspective. New York ; Oxford: Berghahn

Pamerleau, William C. (2009). Existentialist Cinema. Jean-

Pierre Boulé; Enda McCaffrey. Basingstoke: Palgrave Macmillan.

Week 7 Seminar: Film, Ethics and Morality: The Problem of Immoral

Characters

Screening: Monsieur Verdoux (Charles Chaplin, 1947) - 124 mins

Further viewing:

Killing the Devil (Ester Krumbachová, 1970)

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Essential

Reading: Litch, M. M. (2010). Ethics. In Philosophy Through Film (2nd

ed., pp. 143–166). London and New York: Routledge. Eaton, A.W. (2012) Robust Immoralism. The Journal of

Aesthetics and Art Criticism. 70 (3), 281–292. Carroll. Noël (2013) Rough Heroes: A Response to A.W.

Eaton. The Journal of Aesthetics and Art Criticism. 71 (4), 371–376.

Further

Reading: Baggini, Julian and Gareth Southwell (2012) “Moral

Philosophy” in Philosophy: Key Themes. 2nd edt. London: Palgrave MacMillan, pp. 52-80.

Baggini, Julian (2011) “Learning from the Movies: The Coen

Brothers and Moral Truth” in New Takes in Film-Philosophy. Havi Carel and Greg Tuck, eds. London: Palgrave Macmillan.

Downing, Lisa and Libby Saxton (2010) Film and Ethics:

Foreclosed Encounters. London and New York: Routledge.

Falzon, Christopher (2015) “Crimes and Misdemeanors –

Moral Philosophy” in Philosophy Goes to the Movies: An Introduction to Philosophy. New York and London: Routledge, pp. 119-178.

Rowlands, M. (2005). The Lord of the Rings: The Problem of

Moral Relativism. In The Philosopher at the End of the Universe (pp. 259–286). London: Ebury

Week 8 Seminar: Film and Identity: The Philosophy of Mind Screening: The Manchurian Candidate (John Frankenheimer, 1962) -

126 mins

Further viewing:

An Angel at My Table (Jane Campion, 1990)

Essential Reading:

Parfit, Derek (1984) “What We Believe Ourselves to Be” in Reasons and Persons. Oxford: Oxford University Press.

Read, Rupert (2015) “The Tale Parfit Tells: Analytic

Metaphysics of Personal Identity vs. Wittgensteinian Film and Literature,” Philosophy and Literature, 39 (1), pp. 128-153.

Further

Reading: Baggini, Julian and Gareth Southwell (2012) “Philosophy of

Mind” in Philosophy: Key Themes. 2nd edt. London: Palgrave MacMillan, pp. 81-120.

Baur, Michael (2005) “We All Need Mirrors to Remind Us

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Who We Are: Inherited Meaning and Inherited Selves in Memento” in Movies and the Meaning of Life: Philosophers Take On Hollywood. Eds. Blessing, A. Kimberly and Paul J. Tudico. Chicago and La Salle, ILL: Open Court.

Falzon, Christopher (2015) “All of Me – The Self and

Personal Identity” in Philosophy Goes to the Movies: An Introduction to Philosophy. 3rd edt. London and New York: Routledge, pp. 71-118.

Litch, Mary M. (2010) “Personal Identity: Memento (2000)

and Vanilla Sky (2001)” in Philosophy Through Film. 2nd edt. London and New York: Routledge, pp. 68-91.

Rowlands, Mark (2003) “Terminator I & II: The Mind-Body

Problem” and “Total Recall & The Sixth Day: The Problem of Personal Identity” in The Philosopher at the End of the Universe. London: Ebury Press, pp. 57-120.

Week 9 Seminar: Film, Emotion and Belief Screening: Brother Sun, Sister Moon (Franco Zeffirelli, 1972) - 122 mins

Further

viewing:

The Trouble with Angels (Ida Lupino, 1966)

Essential Reading:

Carroll, Noël (2010) “Movies, the Moral Emotions, and Sympathy.” Midwest Studies in Philosophy. 34 (1), pp. 1-19.

Plantinga, Carl (2009) “Movies and Emotions” and “Stories

and Sympathies” in Moving Viewers: American Film and the Spectator's Experience. Los Angeles: University of California Press, pp. 48-111.

Sorfa, David (2018) “Belief in Film: In Defense of False

Emotion and Brother Sun, Sister Moon”, Film and Philosophy, 22.

Further

Reading: Carroll, N. (1990) The Philosophy of Horror or Paradoxes of

The Heart. London and New York: Routledge. Dadlez, E. M. (2010) “Seeing and Imagination: Emotional

Response to Fictional Film.” Midwest Studies In Philosophy. 34 (1), pp. 120-135.

Freeland, C. A. (2000) “Uncanny Horror” in The Naked and

the Undead: Evil and the Appeal of Horror. Boulder: Westview Press, pp. 215-240.

Gendler, T. S. & Kovakovich, K. (2006) “Genuine Rational

Fictional Emotions,” in Matthew Kieran (ed.)

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Contemporary Debates in Aesthetics and The Philosophy Of Art. London: John Wiley & Sons, pp. 241-253.

Laine, T. (2010) “The Diving Bell and the Butterfly as an

Emotional Event.” Midwest Studies In Philosophy. 34 (1), 295-305.

Smith, M. (1999) "Gangsters, Cannibals, Aesthetes, or

Apparently Perverse Allegiances" in Plantinga, C., & Smith, G. M. Eds. Passionate Views: Film, Cognition, and Emotion. Baltimore and London: Johns Hopkins University Press, pp. 217-238.

Walton, K. L. (1978) “Fearing Fictions.” The Journal of

Philosophy. 75 (1), 5-27. [See end for extended bibliography on emotion and film]

Week 10 Seminar: The Philosophy and Paradox of Fiction

Screening: Trans-Europ-Express (Alain Robbe-Grillet, 1966) - 105 mins

Further

viewing:

Sex is Comedy (Catherine Breillat, 2002)

Essential Reading:

Sainsbury, R.M (2010) Fiction and Fictionalism. Abingdon: Routledge.

Radford Colin and Michael Weston (1975) “How Can We Be Moved by the Fate of Anna Karenina?” Proceedings of the Aristotelian Society, Supplementary Volumes. 67–93.

Further

Reading: Stecker, R. (2011) “Should We Still Care about the Paradox

of Fiction?” The British Journal of Aesthetics, Volume 51, Issue 3, pp. 295–308.

Schneider, Stephen (n.d.) The Paradox of Fiction. Internet

Encyclopedia of Philosophy.

Walton, Kendall L. (1990) Mimesis as Make-Believe: On the Foundations of the Representational Arts. Cambridge, Mass. and London: Harvard University Press.

Harrison, Bernard (2014) What Is Fiction For?: Literary Humanism Restored. Bloomington: Indiana University Press.

Currie, Gregory (1990) The Nature of Fiction. Cambridge: Cambridge University Press.

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Some Foundational Films

The following films come up very often in discussions of film and philosophy and, since they are very popular, we assume that you have probably seen most of these. However, if you have not, we would recommend that you do so during the course. A Clockwork Orange (Stanley Kubrick, 1971) Being John Malkovich (Spike Jonze, 1999) Memento (Christopher Nolan, 2000) Open Your Eyes / Abre los ojos (Alejandro Amenábar, 1997) Solaris (Andrei Tarkovsky, 1972) The Matrix (Lana and Lilly Wachowski as the Wachowski Brothers, 1999) The Seventh Seal (Ingmar Bergman, 1957) Total Recall (Paul Verhoeven, 1990) Vanilla Sky (Cameron Crowe, 2001)

Bibliography Blessing, A. Kimberly and Paul J. Tudico, eds. (2005) Movies and the Meaning of

Life: Philosophers Take On Hollywood. Chicago and La Salle, ILL: Open Court. Carel, Havi and Greg Tuck (2011) New Takes in Film-Philosophy. London: Palgrave

MacMillan. Carroll, Noël and Jinhee Choi, eds. (2006) Philosophy of Film and Motion Pictures.

Malden, MA and Oxford: Blackwell. Carroll, Noël (2008) The Philosophy of Motion Pictures. Oxford: Blackwell. Choi, Jinhee and Mattias Frey, eds. (2014) Cine-Ethics: Ethical Dimensions of Film

Theory, Practice, and Spectatorship. New York and London: Routledge. Cox, Damian and Michael P. Levine (2012) Thinking Through Film: Doing

Philosophy, Watching Movies. Chichester: Wiley-Blackwell. Falzon, Christopher (2015) Philosophy Goes to the Movies: An Introduction to

Philosophy. 3rd edt. London and New York: Routledge. Frampton, Daniel (2006) Filmosophy. London: Wallflower. Fumerton, Richard and Diane Jeske, eds. (2010) Introducing Philosophy Through

Film: Key Texts, Discussion, and Film Selections. Chichester: Wiley-Blackwell. Gaut, Berys (2010) A Philosophy of Cinematic Art. Cambridge: Cambridge University

Press. Kupfer, Joseph H. (1999) Visions of Virtue in Popular Film. Boulder: Westview. Litch, Mary M. (2010) Philosophy Through Film. 2nd edt. London and New York:

Routledge. Livingston, Paisley and Carl Plantinga, eds. (2009) The Routledge Companion to

Philosophy and Film. London and New York: Routledge.

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Mullarkey, John (2009) Philosophy and the Moving Image: Refractions of Reality. New York: Palgrave Macmillan.

Mulhall, Stephen (2001/2008) On Film. 2nd edt. New York and London: Routledge. Nannicelli, Ted (2013) A Philosophy of the Screenplay. New York and London:

Routledge. Read, Rupert, and Jerry Goodenough, eds. (2005) Film as Philosophy: Essays in

Cinema After Wittgenstein and Cavell. London: Palgrave Macmillan. Rowlands, Mark (2003) The Philosopher at the End of the Universe. London: Ebury

Press. Shaw, Daniel (2008) Film and Philosophy: Taking Movies Seriously. London and

New York: Wallflower. Sinnerbrink, Robert (2011) New Philosophies of Film: Thinking Images. London:

Continuum. Smith, Murray and Thomas Wartenberg, eds. Thinking Through Cinema: Film as

Philosophy. Malden, MA and Oxford: Blackwell. Thomson-Jones, Katherine (2008) Aesthetics and Film. London: Continuum. Vaughan, Hunter (2013) Where Film Meets Philosophy: Godard, Resnais and

Experiments in Cinematic Thinking. New York: Columbia University Press. Wartenberg, Thomas E. (2007) Thinking on Screen: Film as Philosophy. London and

New York: Routledge.
 Wartenberg, Thomas E. and Angela Curran, eds. (2005) The Philosophy of Film:

Introductory Text and Readings. Malden, MA and Oxford: Blackwell. Aesthetics and Film Andrew, Dudley (1976) “Rudolf Arnheim” in The Major Film Theories. Oxford: Oxford

University Press, pp. 27-41. Arnheim, Rudolf (1933/2006) Film as Art. Berkeley: University of California Press. Baggini, Julian and Gareth Southwell (2012) “Aesthetics” in Philosophy: Key

Themes. 2nd edt. London: Palgrave MacMillan, 178-203. Beardsley, Monroe C. (1958/1981) “Introduction” and “Aesthetic Objects” in

Aesthetics: Problems in the Philosophy of Criticism. 2nd edt. Indianopolis and Cambridge: Hackkett, pp. 1-74.

Carrol, Noël (2008) “Film as Art” and “What is Cinema?” in The Philosophy of Motion

Pictures. Oxford: Blackwell, pp. 7-34; 53-79. Schellekens, Elisabeth (2007) “Must Art Serve a Moral Purpose to be Good?” in

Aesthetics and Morality. London: Continuum, pp. 77-94. Thomson-Jones, Katherine (2008) “Film as an Art” in Aesthetics and Film. London:

Continuum, pp. 1-15.

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Extended Bibliography: Emotion and Film Bartsch, A. (2010). Vivid Abstractions: On the Role of Emotion Metaphors in Film

Viewers' Search for Deeper Insight and Meaning. Midwest Studies in Philosophy, 34(1), 240–260.

Carroll, N. (2010). Movies, the Moral Emotions, and Sympathy. Midwest Studies in

Philosophy, 34(1), 1–19. Currie, G. (2010). Bergman and the Film Image. Midwest Studies in Philosophy,

34(1), 323–339. Dadlez, E. M. (2010). Seeing and Imagination: Emotional Response to Fictional Film.

Midwest Studies in Philosophy, 34(1), 120–135. Feagin, S. L. (2010). Film Appreciation and Moral Insensitivity. Midwest Studies in

Philosophy, 34(1), 20–33. Friend, S. (2010). Getting Carried Away: Evaluating the Emotional Influence of

Fiction Film. Midwest Studies in Philosophy, 34(1), 77–105. Gaut, B. (2010). Empathy and Identification in Cinema. Midwest Studies in

Philosophy, 34(1), 136–157. Gendler, T. S., & Kovakovich, K. (2006). Genuine Rational Fictional Emotions. In

Contemporary Debates In Aesthetics And The Philosophy Of Art (pp. 241–253). London: John Wiley & Sons.

Harold, J. (2010). Mixed Feelings: Conflicts in Emotional Responses to Film. Midwest

Studies in Philosophy, 34(1), 280–294. Kim, S. (2010). The Rationality of Emotion toward Fiction. Midwest Studies in

Philosophy, 34(1), 106–119. Laine, T. (2007) Shame and Desire: Emotion, Intersubjectivity, Cinema. Brussels:

P.I.E. Peter Lang. Laine, T. (2010). The Diving Bell and the Butterfly as an Emotional Event. Midwest

Studies in Philosophy, 34(1), 295–305. Laine, T. (2011) Feeling Cinema: Emotional Dynamics in Film Studies. New York:

Continuum. Leys, R. (2011). The Turn to Affect: A Critique. Critical Inquiry, 37(3), 434–472. Maiese, Michelle (2014). How can emotions be both cognitive and bodily?

Phenomenology and the Cognitive Sciences, 13 (4), 513–531. Plantinga, Carl (2009) Moving Viewers: American Film and the Spectator's

Experience. Los Angeles: University of California Press.

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Plantinga, C. (2010). “I Followed the Rules, and They All Loved You More”: Moral Judgment and Attitudes toward Fictional Characters in Film. Midwest Studies in Philosophy, 34(1), 34–51.

Plantinga, C., & Smith, G. M. (1999). Passionate Views: Film, Cognition, and

Emotion. Baltimore and London: Johns Hopkins University Press. Radford, C., & Weston, M. (1975). How Can We Be Moved by the Fate of Anna

Karenina? Proceedings of the Aristotelian Society, Supplementary Volumes, 49 IS -, 67–93.

Smith, Murray (1995) Engaging Characters: Fiction, Emotion, and the Cinema.

London: Clarendon. Smuts, A. (2010). The Ghost Is the Thing: Can Reactions to Fiction Reveal Belief?

Midwest Studies in Philosophy, 34(1), 219–239. Vaage, M. B. (2010). Fiction Film and the Varieties of Empathic Engagement.

Midwest Studies in Philosophy, 34(1), 158–179. Walton, K. L. (1978). Fearing Fictions. The Journal of Philosophy, 75(1), 5–27. Yanal, R. J. (2010). Hybrid Truths and Emotion in Film. Midwest Studies in

Philosophy, 34(1), 180–189. Philosophical Films This is a somewhat random list of films that I think are quite explicitly philosophical in one way or another: The Stranger / Lo straniero (Luchino Visconti, 1967) Cartesius (Roberto Rossellini, 1974) Beyond Good and Evil / Al di là del bene e del male (Liliana Cavani, 1977) Ghost Dance (Ken McMullen, 1983) Mindwalk (Bernt Amadeus Capra, 1990) Possible Worlds (Robert Lepage, 2000) Thirteen Conversations About One Thing (Jill Sprecher, 2001) Days of Nietszche in Turin / Dias de Nietzsche em Turim (Júlio Bressane, 2001) The Consequences of Love / Le conseguenze dell'amore (Paolo Sorrentino, 2004) The Ister (David Barison, Daniel Ross, 2004) Thank You for Smoking (Jason Reitman, 2005) An Organization of Dreams (Ken McMullen, 2009) Being in the World (Tao Ruspoli, 2010) Another Earth (Mike Cahill, 2011) Life of Pi (Ang Lee, 2012) Her (Spike Jonze, 2013) After the Dark (John Huddles, 2013) Coherence (James Ward Byrkit, 2013) Twilight of the Gods (Julian Doyle, 2013) Lucy (Luc Besson, 2014) Transcendence (Wally Pfister, 2014) God's Not Dead (Harold Cronk, 2014)