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Filmed Thought: Cinema as Reflective Form de Robert B. Pippin

Filmed Thought: Cinema as Reflective Form

Autor Robert B. Pippin
en Limba Engleză Paperback – 16 dec 2019

Recomandăm Filmed Thought ca o resursă academică esențială pentru studenții și profesioniștii din domeniile esteticii, teoriei filmului și filozofiei continentale. Lucrarea semnată de Robert B. Pippin propune o schimbare de paradigmă: filmul nu este doar un suport pentru divertisment sau o ilustrare a unor idei preexistente, ci o formă de gândire de sine stătătoare. Credem că rigoarea cu care Pippin aplică instrumentele filozofice asupra imaginii mișcătoare transformă acest volum într-un reper pentru orice program de studii vizuale.

Structurată în cinci secțiuni tematice, cartea progresează de la fundamentarea teoretică a reflexivității cinematice către analize aplicate pe „patologii sociale” și „variațiuni morale”. Cititorii familiarizați cu Thinking on Screen de Thomas E. Wartenberg vor aprecia modul în care Robert B. Pippin duce argumentul mai departe, insistând pe specificitatea tehnică a mediului — precum ironia cinematică — pentru a explica modul în care Alfred Hitchcock sau Terrence Malick chestionează natura umană. Spre deosebire de abordările pur etice din Cinematic Ethics, volumul de față ancorează analiza în metafizică și înțelegerea acțiunii umane.

În contextul operei sale, Filmed Thought reprezintă o extensie naturală a preocupărilor din Philosophy by Other Means. Dacă în lucrări fundamentale precum Hegel's Idealism autorul explora structurile conștiinței de sine, aici el transferă această investigație în sala de cinema. Ne-a atras atenția în mod deosebit capitolul dedicat fraților Dardenne, unde Pippin demonstrează cum reprezentarea acțiunii poate atinge un „grad zero” al psihologiei, oferind o perspectivă unică asupra agenției umane.

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Specificații

ISBN-13: 9780226672007
ISBN-10: 022667200X
Pagini: 312
Ilustrații: 66 color plates, 30 halftones
Dimensiuni: 152 x 229 x 25 mm
Greutate: 0.51 kg
Ediția:First Edition
Editura: University of Chicago Press
Colecția University of Chicago Press

De ce să citești această carte

Această carte este o investiție necesară pentru oricine dorește să înțeleagă profunzimea intelectuală a cinematografiei. Cititorul câștigă o metodă riguroasă de analiză a imaginii, trecând dincolo de simpla critică de film către o reflecție filozofică veritabilă. Este un instrument valoros pentru cursuri de estetică și critică de artă, oferind argumente solide pentru statutul filmului ca formă superioară de cunoaștere.

Despre autor

Robert B. Pippin este profesor distins la Comitetul de Gândire Socială și Departamentul de Filozofie al Universității din Chicago. Recunoscut la nivel internațional ca unul dintre cei mai importanți interpreți contemporani ai idealismului german, Pippin a revoluționat studiile hegeliene prin lucrări precum Hegel's Practical Philosophy. În ultimul deceniu, și-a extins cercetările către intersecția dintre filozofie și artele vizuale, analizând genuri precum western-ul sau filmul noir. Expertiza sa în Immanuel Kant și G.W.F. Hegel îi permite să abordeze cinemaul cu o profunzime conceptuală rar întâlnită în teoria critică standard.

Descriere scurtă

With the rise of review sites and social media, films today, as soon as they are shown, immediately become the topic of debates on their merits not only as entertainment, but also as serious forms of artistic expression. Philosopher Robert B. Pippin, however, wants us to consider a more radical proposition: film as thought, as a reflective form. Pippin explores this idea through a series of perceptive analyses of cinematic masterpieces, revealing how films can illuminate, in a concrete manner, core features and problems of shared human life.

Filmed Thought examines questions of morality in Almodóvar’s Talk to Her, goodness and naïveté in Hitchcock’s Shadow of a Doubt, love and fantasy in Sirk’s All That Heaven Allows, politics and society in Polanski’s Chinatown and Malick’s The Thin Red Line, and self-understanding and understanding others in Nicholas Ray’s In a Lonely Place and in the Dardennes brothers' oeuvre. In each reading, Pippin pays close attention to what makes these films exceptional as technical works of art (paying special attention to the role of cinematic irony) and as intellectual and philosophical achievements. Throughout, he shows how films offer a view of basic problems of human agency from the inside and allow viewers to think with and through them. Captivating and insightful, Filmed Thought shows us what it means to take cinema seriously not just as art, but as thought, and how this medium provides a singular form of reflection on what it is to be human.

Notă biografică

Robert B. Pippin is the Evelyn Stefansson Nef Distinguished Service Professor in the John U. Nef Committee on Social Thought, the Department of Philosophy, and the College at the University of Chicago. His most recent books include The Philosophical Hitchcock: “Vertigo” and the Anxieties of Unknowingness and Hegel’s Realm of Shadows: Logic as Metaphysics in “The Science of Logic,” both published by the University of Chicago Press.

Cuprins

Section I Cinema as Reflective Form

1 Cinematic Reflection
2 Cinematic Self-Consciousness in Alfred Hitchcock’s Rear Window

Section II Moral Variations

3 Devils & Angels in Pedro Almodóvar’s Talk to Her
4 Confounding Morality in Alfred Hitchcock’s Shadow of a Doubt

Section III Social Pathologies

5 Cinematic Tone in Roman Polanski’s Chinatown: Can “Life” Itself Be “False”?
6 Love & Class in Douglas Sirk’s All That Heaven Allows

Section IV Irony & Mutuality

7 Cinematic Irony: The Strange Case of Nicholas Ray’s Johnny Guitar
8 Passive & Active Skepticism in Nicholas Ray’s In a Lonely Place

Section V Agency & Meaning

9 Vernacular Metaphysics: On Terrence Malick’s The Thin Red Line
10 Psychology Degree Zero? The Representation of Action in the Films of the Dardenne Brothers

Acknowledgments
Works Cited
Index

Recenzii

"Filmed Thought is accessibly written, focuses on wonderful films, and argues compellingly for the intellectual intricacy of cinematic works that may already be very familiar to us."

“I suspect I will often return to Filmed Thought. Each chapter is packed with observations which cast an academically well-worn movie in a whole new light. When I read Pippin’s remark that we never see Jeff from Rear Window take an actual picture (or even load any of his cameras), I wanted to smack my head for never having noticed something so simple, yet so fascinating in its implications. Such small, strange details illustrate how the best films demand both multiple viewings and constant reassessment. Hopefully, Pippin’s analytical framework will inspire similar pieces on more diverse films.”

“If, as Pippin has recently put it, cinema is ‘filmed thought,’ then the cinema from below embodies a historically distinct kind of thinking. As attempts to peek behind the curtain or—to use their metaphor of choice—to look beneath the surface of life under capitalism.”

"Pippin, a prolific analyst of cinematic art...[argues] that film, or at least some films, are not just entertainment to be watched and enjoyed, but require a more involved engagement and interpretive effort—not unlike philosophical texts—and that such effort yields insights not only aesthetic but ethical, ontological, and epistemological."

"Analytically assured and compulsively readable. . . . Filmed Thought is an important contribution to film-philosophy that attests to the difficult relationship between the two disciplines."

Honorable Mention

“An ambitious and successful exploration of film as philosophy—or rather, to quote the title of an important book by V. F. Perkins, of film as film, and thereby as a version of philosophy. The form reflects on itself, and in this way brings medium and content into a subtle and shifting relationship with each other and with the world. Philosophers have written very well on film before—the obvious instances are Gilles Deleuze and Stanley Cavell, the latter playing a large part in Pippin’s book—but none has written with so long and so close an attention to individual films or with so intimate a sense of where and how the philosophy plays out in these works (and what kind of philosophy it is not).”

“Filmed Thought is film philosophy at its finest. At a time when so much academic philosophy speaks only to specialized audiences, Pippin’s book is a remarkable work of public scholarship, one that will surely become a classic. Just as viewers never tire of rewatching the films of Hitchcock, Malick, and Ray, readers will return again and again to Filmed Thought, finding something new, something captivating, something worth thinking about, each and every time.”

“There are many riches in these chapters that will reward the careful reader. Taken together, the result is stimulating, engaging, and thought-provoking. Filmed Thought shows convincingly why philosophers should take cinema seriously, and how film theorists can engage in philosophy through cinema. A major contribution.”

"For Pippin, films are not mere illustrations of philosophical problems but self-standing modes of philosophical reflection. He holds that films display cinematic self-consciousness, and thus further our reflections on issues such as self-knowledge, recognition, unknowability of the other, intersubjective dependence, agency, and responsibility."