The changes we see throughout the history of art and throughout the history of cinema, which is but a subset of that history and whose arrival itself signals a change correspond with roughly contemporaneous developments in the history of philosophy - both are reflections of our faith in the world, or our isolation from it.
Reviewed by Thomas E. He explains that he sees Bergman as a filmmaker who has developed "a mode of intellectual probing and penetration that seems to me clearly philosophical, though not the same as specialized investigations that belong to philosophy proper.
The reflections call out little commonalities we see through films, often with just a single referenc I picked up this book expecting an examination of film as an art form, possibly reflections on the youth of the genera, its development, and maybe even some historical or technical facts to enlighten the discussion.
I do not have to agree with the thesis that animates it to have found it to be an example of how cinematic art can be philosophically significant.
Chapter 2, "Sights and Sounds", is quite the mess of equivocation and an attempt to make noumena our phenomena. His text is thus studded with Philosophical reflections from the silver screen between these four very different filmmakers, as well as with references to Preston Sturges, an unexpected point of comparison for Bergman.
Although some philosophers and film theorists object to the idea of films being or doing philosophy, others have defended such a possibility, often by showing how a specific film raises a philosophic question, gives a counter-example to a philosophical thesis, or even presents a philosophical view of its own.
By the way, two of the artists give the viewer a different understanding of film history than the standard story found in textbooks. Cavell calls to attention that all you have to do to see the world is pull the cloth off and look out.
Can films do philosophy? The six artists whose nine works were featured in the exhibition all employ celluloid as the medium for their cinematic works, and many of their works do specifically address the question of what might be lost Philosophical reflections from the silver screen the evolution of the medium into a purely digital one.
But despite my interest in the works Philosophical reflections from the silver screen the celluloid artists of Dying of the Light, I remain unconvinced by what I take to be their central philosophical contention.
Although certain artistic possibilities achievable in the silent film may have been lost when films started talking, we now recognize all the artistic achievements that the introduction of synchronous sound made possible.
Cartoon terror is absolute because the body is indestructible, and so any threat is a threat to the soul itself The book that Singer has written presents an account of Bergman as an auteur, that is, as a filmmaker with a set of broad intellectual concerns that he embodies in his films over the course of a long career.
Tim I have to emphatically disagree with the Amazon reviewer who called this an "easy read. Without resorting to the making of verbal arguments, can a film somehow do the sorts of things that philosophers do in their written texts?
Here is a case in which the use of celluloid as the medium for making and projecting a film shows something that cannot be replicated by means of a digital film, or so Dean contends.
But my concern moved beyond that, to the very question of how essential to film was its celluloid basis. Digital films will still be transferred onto celluloid, since it is the safest medium to ensure the preservation of film.
Even so, what I took away from this was minimal.
The real question, they maintain, is whether philosophy can be done using the particular technical capabilities of film as an artistic medium.
These are actually films that I have taught and that seem to me to deserve to be considered as potential candidates for the designation of cinematic philosophy. This suggests why it is wrong to think of movies in terms of dreams or hallucinations. Cavell does use plain language.
There are also two slight deviations of the image from complete transparency. Nonetheless, seeing the exhibition was a stimulating philosophical experience for me.
But it makes no apparent sense of being present at dreams or at hallucinations. Here a projector is suspended from the ceiling by a long transparent strip of film that weaves up and down through a series of pulleys connected to both the projector and the ceiling.
As a result, the films are attempts to embody a different emotional register than traditional films generally had.
Singer does make this aspect of his approach very clear from the outset. My reading of the book is that he views philosophy and art as two sides of the same coin, two variations of historically conditioned responses to our epistemological and ontological condition.
He also presumes that the reader possesses not only a thorough familiarity with classic Hollywood cinema, New Hollywood cinema, and the European "New Waves" of the s, but also a solid grounding in the history of philosophy, Romantic poetry, early photographic history, and the history of modern art from Manet through color field painting.
After all, there is a growing body of film interpretation by philosophers that makes stronger claims about the possibility of cinematic philosophy. Reflections on the Ontology of Film Reviews joe m One can have dreams and have hallucinations. Luke I picked up this book expecting an examination of film as an art form, possibly reflections on the youth of the genera, its development, and maybe even some historical or technical facts to enlighten the discussion.
At the moment the sun disappears, a green ray of light shoots across the horizon. The film itself moves through the running projector, which as a result projects a mostly white light onto the white wall of the gallery.
Bach, but, Singer tells us, Bergman thought of his films in musical terms. The reflections call out little commonalities we see through films, often with just a single reference to a famous scene. And since the nature of human cruelty is thus one of the topics that Bergman deals with cinematically, I would have liked to see Singer presenting a more compelling discussion of how Bergman treats this issue and whether his attention to it is something that philosophers ought to take notice of.
He also presumes that the reader possesses not only a thorough familiarity with classic Hollywood cinema, New Hollywood cinema, and the European "New Waves" of the s, but also a solid grounding in the history of philosophy, Romantic poetry, early photographic history, and the history of modern art f I have to emphatically disagree with the Amazon reviewer who called this an "easy read.
This 16mm film gives a clear example what would be lost through the death of celluloid The green ray is an optical phenomenon that occurs when the sun sets into the ocean.1 Tan, C. (). Philosophical reflections from the silver screen: Using films to promote reflection in pre-service teachers.
Reflective Practice, 7(4), DRAFT. This paper studies the use of four popular films (The Lord of the Rings, Dead Poets Society, The Matrix and The Simpsons) to promote philosophical reflections in pre‐service teachers.
Based on a study of 25 pre‐service teachers in Singapore, the findings show that the teachers’ reflections. Sep 11, · Best Answer: Philosophical reflection is the activity of utilizing the tools that philosophy provides us to examine our lives, and our most basic beliefs about life.
The end goal is to achieve a higher level of understanding which results in rebalancing or changing your life in Status: Resolved. Reflective Practice Vol. 7, No. 4, Novemberpp. – Philosophical reflections from the silver screen: using films to promote reflection in pre-service teachers Charlene Tan*.
Philosophical reflections from the silver screen: using films to promote reflection in pre‐service teachers. Reflections on the Death of Celluloid who affirm this possibility, myself included, have held that such films can make a substantive contribution to the philosophical discussion of, in particular, the nature of film.
Silver Screen Reflections. As a result of seeing Dean and Barba’s pieces, and those of the other four artists, I found.Download