By Nathan Andersen
Shadow Philosophy: Plato’s Cave and Cinema is an obtainable and interesting new contribution to film-philosophy, which indicates that to take movie heavily is usually to interact with the basic questions of philosophy. Nathan Andersen brings Stanley Kubrick’s movie A Clockwork Orange into philosophical dialog with Plato’s Republic, evaluating their contributions to topics equivalent to the character of expertise and that means, the nature of justice, the distinction among visual appeal and fact, the significance of artwork, and the influence of images.
At the guts of the ebook is a unique account of the analogy among Plato’s allegory of the cave and cinema, built along with a provocative interpretation of the main strong photo from A Clockwork Orange, during which the lead personality is strapped to a chair and compelled to observe violent movies.
Key positive factors of the booklet comprise:
- a entire bibliography of urged readings on Plato, on movie, on philosophy, and at the philosophy of film
- a checklist of instructed motion pictures that may be explored following the strategy during this e-book, together with short descriptions of every movie, and proposals relating to its philosophical implications
- a precis of Plato’s Republic, ebook via e-book, highlighting either dramatic context and topic matter.
Offering a detailed interpreting of the debatable vintage movie A Clockwork Orange, and an introductory account of the critical subject matters of the philosophical vintage The Republic, this ebook should be of curiosity to either students and scholars of philosophy and movie, in addition to to readers of Plato and lovers of Stanley Kubrick.
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Extra info for Shadow philosophy : Plato's cave and cinema
A narcissist and sociopath, who cares only for his next thrill, Alex nevertheless wins admiration for his vitality and carefree charm. As wrong as we find his behavior, we can’t help but find the state’s solution to it repulsive as well, in its attempt to correct his violence by rendering him deathly nauseous at the thought of it. We can’t help but see that acting in their own interests, and in their own way, albeit under protection of law, the state and its guardians can be as violent and arbitrary as Alex.
Films make sense to us, they relate to what we take to be real, they call for us to make aesthetic, epistemic, and ethical assessments. To pursue and examine the meanings films express and the questions they raise is to enter into considerations that relate directly to philosophy. Since these questions are not imposed upon but drawn from reflections on the experience of moviegoing generally and from the experience of immersion in particular films, they can be considered to define a domain of inquiry native to film.
It leans forward intently, so that a black bowler hat and hair below the ears frame the bright blue eyes that see you right through. It’s a young man, with a crooked half-smile, welcoming but far from friendly, with long, sharp artificial lashes fixed upon the lids of his wicked right eye. Framed just to show his head and shoulders, wearing an open white button-up shirt and suspenders, he looks straight at you, motionless but for the rise and fall of his chest. Ready and alert, shoulders relaxed, with the poise of an animal prepared to pounce, his look is a challenge: see here, pay attention, hear me out, and as the frame opens slowly to take in more of his surroundings in what we’ll learn is the Korova Milk Bar, he starts to speak.
Shadow philosophy : Plato's cave and cinema by Nathan Andersen