Refractions of Reality: Philosophy and the Moving Image
|Publication Date||January 2009|
|Formats||Ebook (PDF) Paperback Ebook (EPUB) Hardcover|
Why is film becoming increasingly important to philosophers? Is it because it can be a helpful tool in teaching philosophy, in illustrating it? Or is it because film can also think for itself, can create its own philosophy? Indeed, many film-philosophers claim that film does more than merely illustrate philosophical texts: rather, film itself can philosophise in direct audio-visual terms. Too often, however, when philosophers claim to find indigenous philosophical value in cinema, it is only on account of refracting it through their own thought: film philosophises because it accords with a favoured kind of extant philosophy.
Refractions of Reality: Philosophy and the Moving Image is the first book to examine all the central issues surrounding the vexed relationship between the film-image and philosophy. In it, John Mullarkey tackles the work of particular philosophers and theorists (Žižek, Deleuze, Cavell, Bordwell, Badiou, Branigan, Rancière, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Psychoanalytic and Phenomenological). Moreover, it also offers an incisive analysis and explanation of several prominent forms of film theorising, providing a meta‑logical account of their mutual advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising, and re‑visioning the field of film theory as a whole.
Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. In particular: must philosophy (and theory) always transform film into pre-texts for illustration? What would it take to imagine how film might itself theorise without reducing it to standard forms of thought and philosophy? Finally, and fundamentally, must we change our definition of philosophy and even of thought itself in order to accommodate the speciﬁcities that come with the claim that film can produce philosophical theory?