Description Often,
when one hears “philosophy of film,” one imagines something that would
be better called philosophy in (or through) film. On this model, one
picks a handful of philosophical films and then discusses whatever
philosophical issues happen to be relevant. Although this may improve
one's understanding of those particular films, such courses are
typically too diffuse and do little to increase our understanding of
philosophy. As such, we won't be doing much philosophy in film;
instead, this course focuses on as a set of philosophical problems
having to do with the nature of film and our experiences of it.
We
will address questions such as: Can movies be art? What is film? What
distinguishes narrative fiction films from documentaries? Do films have
narrators? How do films move us? Why do people watch melodrama and
horror if such movies depress and disgust audiences? Do films have
authors whose artistic intentions matter? Can ethical flaws detract
from the aesthetic value of a film? Can films instruct or corrupt us
morally? What makes a good critic? Are some better than others? Can
films “do philosophy”? In other words, is “philosophy in film” possible?
Students
will gain a clear understanding of the major problems in the philosophy
of film and several central issues in the philosophy of art. Focusing
on these problems is the most effective way to sharpen the critical
vocabulary used in film theory and criticism.
Syllabus
Assignments Paper #1 Paper #2 Late-term Exam Final Exam
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