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By Richard A. Gilmore

Explores philosophical principles via an exam of well known film.

Doing Philosophy on the video clips finds the roots of profound philosophical rules within the particularly traditional context of renowned, commonly Hollywood, video clips. Richard A. Gilmore means that narratives of renowned movies like Hitchcock's Vertigo, John Ford's The Searchers, Woody Allen's Crimes and Misdemeanors, the Coen Brothers' Fargo, and Danny Boyle's Trainspotting replicate definite epiphanies within the works of significant philosophers. through Plato, Aristotle, Kant, Nietzsche, Wittgenstein, and Zizek, Gilmore addresses such subject matters because the nature of philosophy, the potential for redemption via love, catharsis, the chic, and the human challenge of loss of life. Gilmore argues that seeing those video clips during the lens of yes philosophical principles can express how deeply proper either philosophy and the flicks can be.

“Often what's to be realized from a movie is openness to others, to new studies, and to otherness itself; and openness seems to be the very trait that Gilmore reveals essential to movie appreciation … a lot may possibly be realized right here approximately viewing motion pictures philosophically.” — CHOICE

"Gilmore has a particular tackle the connection among philosophy and picture. utilizing the paintings of Stanley Cavell as his foundation, Gilmore argues that well known movies could be a ability during which humans can event the pleasures and rewards of philosophy." — Thomas E. Wartenberg, writer of Unlikely undefined: motion picture Romance as Social Criticism

"Gilmore perspicuously represents how well known videos truly provide us considerate makes an attempt to return to grips with these matters that almost all profoundly hassle us. He deals startlingly insightful comments and observations approximately movie and brings out how our quotidian lives should be intensely philosophical with out our even being aware." — Dan Flory, Montana country college at Bozeman

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There is a moment in Alfred Hitchcock’s Vertigo that has an impact on the audience similar to the impact of the moment I have been discussing in The Usual Suspects, that causes the audience to reshuffle their ideas and values. It is the moment when the camera, in a very rare instance in the movie, takes up the point of view of Judy Barton (Kim Novak) and reveals Judy’s own retrospective vision of the story we have just been watching. This moment reveals a very different version of the story from the version that we had been watching.

And Stewart doesn’t know it, does he? ”4 I find this account by Hitchcock quite remarkable, especially in light of the movie itself, a movie that I regard as a very adult movie, with very adult themes. First of all, to account for how he has set up the narrative of Vertigo in terms of a story that a mother would tell her young son is odd because the story of Vertigo would not seem to be a story that one would tell a young boy, especially if one were his mother. Hitchcock himself describes the story as about necrophilia.

By exempting oneself from those forces in order to examine them, one also exempts oneself from all the advantages of society, of being a member of a community. Philosophy is done for the sake of the community because without someone observing and tracking the unseen forces operating in a society, the society is blind. Without philosophy society moves forward through new situations, new crises, new economic as well as new ethical conditions without any sense of where it is going. The philosopher martyrs his or her communal self upon the altar of the community.

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