Film and Philosophy

This article examines Noël Carroll’s theory of solidarity from a critical race theoretical perspective. Using recent work in philosophy of film, philosophy of emotion, and critical philosophy of race, it argues his theory pays insufficient attention to both the role disgust plays in generating solidarity and the role race plays in generating disgust. Numerous and significant examples are cited to support these claims. The article also suggests implicit bias and embodied affect figure into character allegiance more seriously than Carroll’s theory indicates. These weaknesses arguably affect related theories in both philosophy of film and cognitive film theory, such as those advanced by A. W. Eaton, Margrethe Bruun Vaage, Murray Smith, and Carl Plantinga. The result is a call for revision of Carroll’s and these other thinkers’ theories, as well as a call for deeper investigation into disgust, race, and their importance in generating character allegiance.

Critical posthumanists have observed that technoscientific developments are in the process of rewriting human ontology, fundamentally changing what it means to be human. While they argue that the posthuman breaks with the Cartesian liberal subject and embraces a more decentered ontology, their analyses remain firmly situated in a Cartesian world that marginalizes if not completely ignores questions about natality. This essay examines two filmic texts, Blade Runner 2049 and the AMC television show Humans, that are situated firmly in a posthuman environment in which technoscience is seemingly rewriting the conditions of being human and blurring the boundary between human and machine, but which focus on natality and childhood and emphasize themes of parenting and growth and development. In doing so, they disclose shortcomings in critical posthumanism that can only be addressed when we give more serious attention to how natality shapes being human.

Much theorizing on the aesthetics of nature focuses on its uniqueness qua nature. An overly-inflated sense of the ethical and aesthetic normative force of this focus has resulted in a general paucity of philosophical investigation into artified nature. The investigations that do exist typically refuse to or are unable to marshall the theoretical resources of nature aesthetics, which are taken to only apply to live nature. Here, I resist such wing-clipping by taking artified nature–specifically, filmed nature–to deserve its own discrete theorizing while nonetheless insisting upon, and taking full advantage of, a robust connection between filmed and live nature. I do so by arguing that cinema can successfully remediate an important, and unique, element of the aesthetic experience of live nature: namely, its engaged environmental character.

The 2015 film Lost and Beautiful, directed by Pietro Marcello, en­deavors in aesthetically compelling ways to decenter the human in the frame and engage viewers in what Gilles Deleuze and Felix Guattari term becoming animals. Part documentary film, part fairytale, this film tells the story in the nonhuman first person, of the life and journey of a water buffalo calf in the south of Italy and his relationship with the shepherd who saved him from pre­mature death, and later, with Pulcinella, a mythological figure from Neapol­itan folklore, who accompanies him in a journey north. Adopting ecocritical and posthuman perspective and providing elements of environmental cultural history, this article analyses the aesthetic and narrative strategies the film em­ploys to grant subjectivity to a nonhuman protagonist and, in turn, address the viewers. Advocating for the conservation of human artifacts while also posing the question of animal rights and agency, Lost and Beautiful powerfully gestures toward a non-anthropocentric cinema.

This article discusses a relationship between the philosophical praxis of Ọ̀rúnmìlà and aesthetics of Èjìgbèdè Ẹ̀kú (i.e., the costume of the living and the costume of the dead) in Saworoidẹ (dir. Túndé Kèlání’s, 1999). I construct the Yorùbá/Ọ̀rúnmìlà philosophical method of Èjìgbèdè Ẹ̀kú in the contemporary Nigerian narrative film as case study of how contemporary African filmmakers, like their oral artiste counterparts, continue to articulate their inherited traditions via cinematic storytelling. In doing that I draw on what I call the Ọ̀rúnmìliàn “parable of Eégún” (masquerade) to establish what I designate the philosophical/therapeutic questions of Èjìgbèdè Ẹ̀kú; and thus, argue that Èjìgbèdè Ẹ̀kú gives “presence to non-presence” so that the living/present can dialogue with the dead/past as a way of healing, re-moralizing, and/or decolonizing the living through cinematic storytelling. I conclude that Ọ̀rúnmìliàn film does not solely rekindle, and teach us, a valuable aesthetic practice of self-reflection or self-reevaluation but also decolonize and de-westernize film-philosophy

This article contributes to the philosophical debate over whether and how different forms of value interact—more specifically, moral and aesthetic value. Whereas much of the debate has been preoccupied with how moral value might affect aesthetic value, this article explores the interaction from the opposite direction. To consider the plausibility of an interaction in this direction, I first expand upon Robert Stecker’s brief discussion of the reverse affective response argument. Following this, I propose an alternative description of an aesthetic-moral interaction that might be more accurately described as “inverted moderate moralism.” Inverted moderate moralism (an inverted version of Noël Carroll’s moderate moralism) argues that aesthetic value sometimes affects moral value; sometimes aesthetic flaws yield moral flaws in works, and sometimes aesthetic merits yield moral merits. I defend inverted moderate moralism as one plausible account of aesthetic-moral value interaction, but this article hopes to illustrate that an interaction in this direction is not only plausible but warrants further consideration more generally.

This essay explores the underlying connections, through reversals and doubling, in Jim Jarmusch’s Night on Earth. The film utilizes more than just similar cinematic techniques across its five episodes, it embeds conceptual connections that result in a strong location-expression conveying to the viewer the unique ‘flavor’ of each of the five cities. The essay explores the concepts of reversal, doubling, location-expression, and spectatorship. It elucidates the filmic expressions of place by gesturing toward expression theory and rasa theory. Ultimately, the film’s unity, like that of a rock band’s LP, holds together enough to suggest the peculiar awareness of the filmgoer’s tourist spectatorship.