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Philosophy, Black Film, Film Noir
"Examines how African-American as well as international films deploy film noir techniques in ways that encourage philosophical reflection. Combines philosophy, film studies, and cultural studies"--Provided by publisher.
On Race
The recent barrage of racially motivated killings, violent antagonisms, and conflagrations has left many Americans reeling in the face of a so-called post-racial reality. In thirty-four interviews--some previously unpublished and others originally conducted for The New York Times' philosophy column The Stone, but presented here unedited and with supporting materials--philosopher George Yancy critically engages some of the most influential thinkers alive today in order to highlight their most crucial insights into understanding the multifaceted dimensions of race in the United States.
Thelma & Louise
Thelma & Louise, the 1991 film directed by Ridley Scott and starring Susan Sarandon and Geena Davis, has been described as a road movie, a buddy movie, a feminist parable, and only incidentally as a Western. An Oscar winner for first-time screenwriter Callie Khouri, Thelma & Louise catalyzed a national conversation about women, violence, and self-determination in a Hollywood still shrugging off the West of John Wayne and in an America that still viewed women as accessories to the national mythology. In this latest volume in the Reel West series, Susan Kollin recreates this watershed moment for women's movies in general and women's Westerns in particular.
Race, Philosophy, and Film
This collection fills a gap in the current literature in philosophy and film by focusing on the question: How would thinking in philosophy and film be transformed if race were formally incorporated moved from its margins to the center? The collection’s contributors anchor their discussions of race through considerations of specific films and television series, which serve as illustrative examples from which the essays’ theorizations are drawn. Inclusive and current in its selection of films and genres, the collection incorporates dramas, comedies, horror, and science fiction films (among other genres) into its discussions, as well as recent and popular titles of interest, such as Twilight, Avatar, Machete, True Blood, and The Matrix and The Help. The essays compel readers to think more deeply about the films they have seen and their experiences of these narratives.
Transformational Ethics of Film
What is ‘the good’ of the film experience? And how does the budding field of ‘film as philosophy’ answer this question? Charting new routes for film ethics, Martin P. Rossouw develops a critical account of the transformational ethics at work within the ‘film as philosophy’ debate. Whenever philosophers claim that films can do philosophy, they also persistently put forward edifying practical effects – potential transformations of thought and experience – as the benefit of viewing such films. Through rigorous appraisals of key arguments, and with reference to the cinema of Terrence Malick, Rossouw pieces together the idea of an inner makeover through cinema – a cinemakeover â...
Historical Dictionary of Crime Films
The crime film genre consists of detective films, gangster films, suspense thrillers, film noir, and caper films and is produced throughout the world. Crime film was there at the birth of cinema, and it has accompanied cinema over more than a century of history, passing from silent films to talkies, from black-and-white to color. The genre includes such classics as The Maltese Falcon, The Godfather, Gaslight, The French Connection, and Serpico, as well as more recent successes like Seven, Drive, and L.A. Confidential. The Historical Dictionary of Crime Films covers the history of this genre through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries on key films, directors, performers, and studios. This book is an excellent access point for students, researchers, and anyone wanting to know more about crime cinema.
Black Athena
Winner of the 1990 American Book Award What is classical about Classical civilization? In one of the most audacious works of scholarship ever written, Martin Bernal challenges the foundation of our thinking about this question. Classical civilization, he argues, has deep roots in Afroasiatic cultures. But these Afroasiatic influences have been systematically ignored, denied or suppressed since the eighteenth century—chiefly for racist reasons. The popular view is that Greek civilization was the result of the conquest of a sophisticated but weak native population by vigorous Indo-European speakers—Aryans—from the North. But the Classical Greeks, Bernal argues, knew nothing of this “Ar...
