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Refractions of reality = philosophy and the moving image /

紀錄類型:	書目-電子資源 : 單行本
正題名/作者:	Refractions of reality/ John Mullarkey.
其他題名:	philosophy and the moving image /
作者:	Mullarkey, John.
出版者:	Basingstoke [England] ;Palgrave Macmillan, : 2009.,
面頁冊數:	xviii, 282 p. ;23 cm.;
標題:	Motion pictures - Philosophy. -
電子資源:	access to fulltext (Palgrave)
ISBN:	9780230582316

Refractions of reality = philosophy and the moving image /
Mullarkey, John.

Refractions of realityphilosophy and the moving image /[electronic resource] :John Mullarkey. - Basingstoke [England] ;Palgrave Macmillan,2009. - xviii, 282 p. ;23 cm.

Includes bibliographical references (p. 261-272) and index.

Preface: The Film-Envy of Philosophy -- Introduction: Nobody Knows Anything! -- Illustrating Manuscripts -- Bordwell and Other Cogitators -- Zizek and the Cinema of Perversion -- Deleuze's Kinematic Philosophy -- Cavell, Badiou, and Other Ontologists -- Expanded Cognitions and theSpeeds of Cinema -- Fabulation, Process and Event -- Refractions of Reality Or, What is Thinking Anyway? -- Conclusion: Code Unknown - A Bastard Theory for a Bastard Art.

Why is film becoming increasingly important to philosophers? Is it because it can be a helpful tool in teaching philosophy, in illustratingit? Or is it because film can also think for itself, can create its own philosophy? Indeed, many film-philosophers claim that film does more than merely illustrate philosophical texts: rather, film itself can philosophise in direct audio-visual terms. Too often, however, when philosophers claim to find indigenous philosophical value in cinema, it is only on account of refracting it through their own thought: film philosophises because it accords witha favoured kind of extant philosophy. Refractions of Reality: Philosophy and the Moving Image is the first book to examine all the central issues surrounding the vexed relationship between the film-image and philosophy. In it, John Mullarkey tackles the work of particular philosophers and theorists(Zizek, Deleuze, Cavell, Bordwell, Badiou, Branigan, Rancèire, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Psychoanalytic and Phenomenological). Moreover,it also offers an incisive analysis and explanation of several prominent forms of film theorising, providing a meta-logical account of their mutual advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising, and re-visioning the field offilm theory as a whole. Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. In particular: must philosophy (and theory) always transform film into pre-texts for illustration? What would it take to imagine how film might itself theorise without reducing it to standard forms of thought and philosophy? Finally, and fundamentally, must we change our definition of philosophy and even of thought itself in order to accommodate the speci?cities that come with the claim thatfilm can produce philosophical theory?

Electronic reproduction.
Basingstoke, England :
Palgrave Macmillan,
2009.

Mode of access:World Wide Web.

ISBN: 9780230582316

Standard No.: 10.1057/9780230582316doiSubjects--Topical Terms:

88314
Motion pictures
--Philosophy.Index Terms--Genre/Form:

96803
Electronic books.

LC Class. No.: PN1995 / .M73 2009eb

Dewey Class. No.: 791.4301

Refractions of reality = philosophy and the moving image /
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504 $a Includes bibliographical references (p. 261-272) and index.
505 0 $a Preface: The Film-Envy of Philosophy -- Introduction: Nobody Knows Anything! -- Illustrating Manuscripts -- Bordwell and Other Cogitators -- Zizek and the Cinema of Perversion -- Deleuze's Kinematic Philosophy -- Cavell, Badiou, and Other Ontologists -- Expanded Cognitions and theSpeeds of Cinema -- Fabulation, Process and Event -- Refractions of Reality Or, What is Thinking Anyway? -- Conclusion: Code Unknown - A Bastard Theory for a Bastard Art.
520 $a Why is film becoming increasingly important to philosophers? Is it because it can be a helpful tool in teaching philosophy, in illustratingit? Or is it because film can also think for itself, can create its own philosophy? Indeed, many film-philosophers claim that film does more than merely illustrate philosophical texts: rather, film itself can philosophise in direct audio-visual terms. Too often, however, when philosophers claim to find indigenous philosophical value in cinema, it is only on account of refracting it through their own thought: film philosophises because it accords witha favoured kind of extant philosophy. Refractions of Reality: Philosophy and the Moving Image is the first book to examine all the central issues surrounding the vexed relationship between the film-image and philosophy. In it, John Mullarkey tackles the work of particular philosophers and theorists(Zizek, Deleuze, Cavell, Bordwell, Badiou, Branigan, Rancèire, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Psychoanalytic and Phenomenological). Moreover,it also offers an incisive analysis and explanation of several prominent forms of film theorising, providing a meta-logical account of their mutual advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising, and re-visioning the field offilm theory as a whole. Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. In particular: must philosophy (and theory) always transform film into pre-texts for illustration? What would it take to imagine how film might itself theorise without reducing it to standard forms of thought and philosophy? Finally, and fundamentally, must we change our definition of philosophy and even of thought itself in order to accommodate the speci?cities that come with the claim thatfilm can produce philosophical theory?
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