Book contents
- The Cambridge History of Philosophy, 1945–2015
- The Cambridge History of Philosophy, 1945–2015
- Copyright page
- Contents
- Contributors
- Preface and Acknowledgments
- Introduction
- Part I Analytic Philosophy
- Part II Continental Philosophy
- Section Five Central Movements and Issues
- Section Six Continental Moral, Social, and Political Philosophy
- Section Seven Continental Aesthetics and Philosophy of Religion
- 39 The Bearing of Film on Philosophy
- 40 Aesthetics, Psychoanalysis, and the Avant-Garde
- 41 Continental Philosophy of Religion
- Part III Bridge Builders, Border Crossers, Synthesizers, and Comparative Philosophy
- Part IV Epilogue: On the Philosophy of the History of Philosophy
- References
- Index
39 - The Bearing of Film on Philosophy
from Section Seven - Continental Aesthetics and Philosophy of Religion
Published online by Cambridge University Press: 08 November 2019
- The Cambridge History of Philosophy, 1945–2015
- The Cambridge History of Philosophy, 1945–2015
- Copyright page
- Contents
- Contributors
- Preface and Acknowledgments
- Introduction
- Part I Analytic Philosophy
- Part II Continental Philosophy
- Section Five Central Movements and Issues
- Section Six Continental Moral, Social, and Political Philosophy
- Section Seven Continental Aesthetics and Philosophy of Religion
- 39 The Bearing of Film on Philosophy
- 40 Aesthetics, Psychoanalysis, and the Avant-Garde
- 41 Continental Philosophy of Religion
- Part III Bridge Builders, Border Crossers, Synthesizers, and Comparative Philosophy
- Part IV Epilogue: On the Philosophy of the History of Philosophy
- References
- Index
Summary
The ways in which serious thought about film and philosophical reflection might intersect are various, and those dimensions have been much explored in the twentieth century, especially with the establishment of the academic study of film in the seventies and eighties.1 At that intersection, there are various philosophical questions that can be raised, primarily but not exclusively, about filmed fictional realist narratives, or “movies.” There are related questions about photography and other types of recordings of movement or figuration: documentaries, art videos, and non-representational avant-garde films, for example. But both Hollywood (or commercially produced narrative films) and art cinema, considered as new art forms, have drawn the most attention.
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- The Cambridge History of Philosophy, 1945–2015 , pp. 529 - 541Publisher: Cambridge University PressPrint publication year: 2019
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