Doing philosophy at the movies /
"Doing Philosophy at the Movies finds the roots of profound philosophical ideas in the relatively ordinary context of popular, mostly Hollywood, movies. Richard A. Gilmore suggests that narratives of popular films like Hitchcock's Vertigo, John Ford's The Searchers, Woody Allen's...
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| Format: | Electronic eBook |
| Language: | English |
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Albany :
State University of New York Press,
©2005.
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| Subjects: | |
| Online Access: | CONNECT CONNECT |
MARC
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| 100 | 1 | |a Gilmore, Richard Allen, |d 1959- |1 https://id.oclc.org/worldcat/entity/E39PCjvcBf9FvKfwcg4WgFcrRq | |
| 245 | 1 | 0 | |a Doing philosophy at the movies / |c Richard A. Gilmore. |
| 260 | |a Albany : |b State University of New York Press, |c ©2005. | ||
| 300 | |a 1 online resource (xi, 183 pages) | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 504 | |a Includes bibliographical references (pages 163-178) and index. | ||
| 505 | 0 | |a Introduction: Wittgenstein at the movies -- John Ford's The searchers as an allegory of the philosophical search -- A the usual suspects moment in Vertigo: the epistemology of identity -- The American sublime in Fargo -- Visions of meaning: seeing and non-seeing in Crimes and misdemeanors -- Oedipus techs: time travel as redemption in The terminator and 12 monkeys -- Into the toilet: some classical aesthetic themes raised by a scene in Trainspotting -- Horror and death at the movies -- Conclusion: the dialectics of interpretation. | |
| 588 | 0 | |a Print version record. | |
| 520 | |a "Doing Philosophy at the Movies finds the roots of profound philosophical ideas in the relatively ordinary context of popular, mostly Hollywood, movies. Richard A. Gilmore suggests that narratives of popular films like Hitchcock's Vertigo, John Ford's The Searchers, Woody Allen's Crimes and Misdemeanors, the Coen Brothers' Fargo, and Danny Boyle's Trainspotting mirror certain epiphanies in the works of great philosophers. Via Plato, Aristotle, Kant, Nietzsche, Wittgenstein, and Zizek, Gilmore addresses such themes as the nature of philosophy, the possibility of redemption through love, catharsis, the sublime, and the human problem of death. Gilmore argues that seeing these movies through the lens of certain philosophical ideas can show how deeply relevant both philosophy and the movies can be."--Jacket | ||
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