The Philosophy of Martin Scorsese

Academy Award–winning director Martin Scorsese is one of the most significant American filmmakers in the history of cinema. Although best known for his movies about gangsters and violence, such as Mean Streets, Goodfellas, Casino, and Taxi Driver, Scorsese has addressed a much wider range of themes and topics in the four decades of his career. In The Philosophy of Martin Scorsese, an impressive cast of contributors explores the complex themes and philosophical underpinnings of Martin Scorsese’s films. The essays concerning Scorsese’s films about crime and violence investigate the nature of friendship, the ethics of vigilantism, and the nature of unhappiness. The authors delve deeply into the minds of Scorsese’s tortured characters and explore how the men and women he depicts grapple with moral codes and their emotions. Several of the essays explore specific themes in individual films. The authors describe how Scorsese addresses the nuances of social mores and values in The Age of Innocence, the nature of temptation and self-sacrifice in The Last Temptation of Christ and Bringing Out the Dead, and the complexities of innovation and ambition in The Aviator. Other chapters in the collection examine larger philosophical questions. In a world where everything can be interpreted as meaningful, Scorsese at times uses his films to teach audiences about the meaning in life beyond the everyday world depicted in the cinema. For example, his films touching on religious subjects, such as Kundun and The Last Temptation of Christ, allow the director to explore spiritualism and peaceful ways of responding to the chaos in the world.Filled with penetrating insights on Scorsese’s body of work, The Philosophy of Martin Scorsese shows the director engaging with many of the most basic questions about our humanity and how we relate to one another in a complex world. Mark T. Conard, assistant professor of philosophy at Marymount Manhattan College in New York City, is the editor or coeditor of many books, including The Philosophy of Film Noir and The Philosophy of Neo-Noir. Ethics, aesthetics, film theory, and popular culture all meet in this new collection, which sheds new light on all aspects of Scorsese\u27s work. This much-awaited edition brings alive philosophical themes in Scorsese\u27s films that both the novice and the expert can appreciate. The contributors manage to be accessible and scholarly at the same time. --John Davenport, associate professor of philosophy and Magis Fellow, Fordham Univ Examines Scorsese\u27s films in a distinctive and refreshing departure from traditional criticism. What emerges is both a sense of the ethical core of a filmmaker and the realization that Scorsese\u27s insight into the human condition remains constant and penetrating. --Library Journal Conard has compiled another jargon-free and entertaining collection of essays that clearly and concisely define traditional philosophical thought—this time through the lens of Scorsese’s films. . . . Be the reader a Scorsese enthusiast or a philosophy student, this collection serves as an excellent interdisciplinary resource. -- A.F. Winstead, CHOICE This collection will be particularly valuable to philosophy scholars interested in ethics as well as film and cultural critics. --Matthew Schultz, Film Criticismhttps://uknowledge.uky.edu/upk_american_popular_culture/1020/thumbnail.jp

The Philosophy of the Coen Brothers

In 2008 No Country for Old Men won the Academy Award for Best Picture, adding to the reputation of filmmakers Joel and Ethan Coen, who were already known for pushing the boundaries of genre. They had already made films that redefined the gangster movie, the screwball comedy, the fable, and the film noir, among others. No Country is just one of many Coen brothers films to center on the struggles of complex characters to understand themselves and their places in the strange worlds they inhabit. To borrow a phrase from Barton Fink, all Coen films explore “the life of the mind” and show that the human condition can often be simultaneously comic and tragic, profound and absurd. In The Philosophy of the Coen Brothers, editor Mark T. Conard and other noted scholars explore the challenging moral and philosophical terrain of the Coen repertoire. Several authors connect the Coens’ most widely known plots and characters to the shadowy, violent, and morally ambiguous world of classic film noir and its modern counterpart, neo-noir. As these essays reveal, Coen films often share noir’s essential philosophical assumptions: power corrupts, evil is real, and human control of fate is an illusion. In Fargo, not even Minnesota’s blankets of snow can hide Jerry Lundegaard’s crimes or brighten his long, dark night of the soul. Coen films that stylistically depart from film noir still bear the influence of the genre’s prevailing philosophical systems. The tale of love, marriage, betrayal, and divorce in Intolerable Cruelty transcends the plight of the characters to illuminate competing theories of justice. Even in lighter fare, such as Raising Arizona and The Big Lebowski, the comedy emerges from characters’ journeys to the brink of an amoral abyss. However, the Coens often knowingly and gleefully subvert conventions and occasionally offer symbolic rebirths and other hopeful outcomes. At the end of The Big Lebowski, the Dude abides, his laziness has become a virtue, and the human comedy is perpetuating itself with the promised arrival of a newborn Lebowski. The Philosophy of the Coen Brothers sheds new light on these cinematic visionaries and their films’ stirring philosophical insights. From Blood Simple to No Country for Old Men, the Coens’ films feature characters who hunger for meaning in shared human experience—they are looking for answers. A select few of their protagonists find affirmation and redemption, but for many others, the quest for answers leads, at best, only to more questions. Mark T. Conard is assistant professor of philosophy at Marymount College. He is the series editor of The Philosophy of Popular Culture series and the editor of numerous books, including The Philosophy of Film Noir, The Philosophy of Neo-Noir, and The Philosophy of Martin Scorsese.https://uknowledge.uky.edu/upk_american_popular_culture/1004/thumbnail.jp

The Philosophy of Film Noir

A drifter with no name and no past, driven purely by desire, is convinced by a beautiful woman to murder her husband. A hard-drinking detective down on his luck becomes involved with a gang of criminals in pursuit of a priceless artifact. The stories are at once romantic, pessimistic, filled with anxiety and a sense of alienation, and they define the essence of film noir. Noir emerged as a prominent American film genre in the early 1940s, distinguishable by its use of unusual lighting, sinister plots, mysterious characters, and dark themes. From The Maltese Falcon (1941) to Touch of Evil (1958), films from this classic period reflect an atmosphere of corruption and social decay that attracted such accomplished directors as John Huston, Alfred Hitchcock, Billy Wilder, and Orson Welles. The Philosophy of Film Noir is the first volume to focus exclusively on the philosophical underpinnings of these iconic films. Drawing on the work of diverse thinkers, from the French existentialist Albert Camus to the Frankurt school theorists Max Horkheimer and Theodor Adorno, the volume connects film noir to the philosophical questions of a modern, often nihilistic, world. Opening with an examination of what constitutes noir cinema, the book interprets the philosophical elements consistently present in the films—themes such as moral ambiguity, reason versus passion, and pessimism. The contributors to the volume also argue that the essence and elements of noir have fundamentally influenced movies outside of the traditional noir period. Neo-noir films such as Pulp Fiction (1994), Fight Club (1999), and Memento (2000) have reintroduced the genre to a contemporary audience. As they assess the concepts present in individual films, the contributors also illuminate and explore the philosophical themes that surface in popular culture. A close examination of one of the most significant artistic movements of the twentieth century, The Philosophy of Film Noir reinvigorates an intellectual discussion at the intersection of popular culture and philosophy. Mark T. Conard, assistant professor of philosophy at Marymount Manhattan College in New York City, is the editor or coeditor of many books, including The Philosophy of Martin Scorsese and The Philosophy of Neo-Noir. A satisfying book, as each of the authors brings a unique perspective to the discussion and they are able to isolate, identify, and explain some of the more subtle aspects of a genre which, on the surface, seems all about gangsters and pretty girls who done somebody wrong. -- Blogcritics Explores the philosophical underpinnings of movies from the classical noir period and . . . suggests that films aren\u27t noir merely because they share a consistent tone, or certain visual conventions, with the likes of The Maltese Falcon , The Postman Always Rings Twice , and Double Indemnity . -- Boston Globe The essays work both as solid primers into philosophy, stretching from Aristotle to Schopenhauer, and as lucid excursions into the genre\u27s dark, mean streets. . . . A fascinating, readable, and provocative book. . . . Highly recommended. -- Choice An intellectually seductive, hard-boiled romp through a world of moral murkiness, femme fatales, and desperately lonely protagonist. -- Eric Bronson, editor of Baseball and Philosophy The collection aims to achieve two goals: to introduce genuine philosophical problems and film noir characteristics, while providing sufficiently in-depth discussion that those familiar with either philosophical methods or film noir will not find the material too elementary. Although facing a difficult task, Conard has put together a collection that succeeds in both respects. -- Intertexts Dense and intriguing, the book suggests noir is best perceived as a slightly warped mirror held up to contemporary society. -- Publishers Weekly An excellent book, giving readers a very good sense of the rich philosophical resources in film noir. -- Thomas Hibbs, author of Shows About Nothing: Nihilism in Popular Culture from t This collection of essays, delving into the films and elucidating their philosophical depths, is challenging and engaging. Read it and prepare to be provoked. -- Les Reid -- Philosophy Nowhttps://uknowledge.uky.edu/upk_american_popular_culture/1018/thumbnail.jp

Spectral Energy Distributions for Disk and Halo M--Dwarfs

We have obtained infrared (1 to 2.5 micron) spectroscopy for 42 halo and disk dwarfs with spectral type M1 to M6.5. These data are compared to synthetic spectra generated by the latest model atmospheres of Allard & Hauschildt. Photospheric parameters metallicity, effective temperature and radius are determined for the sample. We find good agreement between observation and theory except for known problems due to incomplete molecular data for metal hydrides and water. The metal-poor M subdwarfs are well matched by the models as oxide opacity sources are less important in this case. The derived effective temperatures for the sample range from 3600K to 2600K; at these temperatures grain formation and extinction are not significant in the photosphere. The derived metallicities range from solar to one-tenth solar. The radii and effective temperatures derived agree well with recent models of low mass stars.Comment: 24 pages including 13 figures, 4 Tables; accepted by Ap

Synthesis of Knowledge: Fire History and Climate Change

This report synthesizes available fire history and climate change scientific knowledge to aid managers with fire decisions in the face of ongoing 21st century climate change. Fire history and climate change (FHCC) have been ongoing for over 400 million years of Earth history, but increasing human influences during the Holocene Epoch have changed both climate and fire regimes. We describe basic concepts of climate science and explain the causes of accelerating 21st century climate change. Fire regimes and ecosystem classifications serve to unify ecological and climate factors influencing fire, and are useful for applying fire history and climate change information to specific ecosystems. Variable and changing patterns of climate-fire interaction occur over different time and space scales that shape use of FHCC knowledge. Ecosystem differences in fire regimes, climate change, and available fire history mean that using an ecosystem-specific view will be beneficial when applying FHCC knowledge

XPS DOS Studies of Oxygen-Plasma Treated YBa\u3csub\u3e2\u3c/sub\u3eCu\u3csub\u3e3\u3c/sub\u3eO\u3csub\u3e7-δ\u3c/sub\u3e Surfaces as a Function of Temperature

Monochromatized Alkα XPS has been used to monitor changes in the electronic structure of 123 sintered pellets as a function of temperature (90-650K). Since 123 surfaces are known to lose oxygen and react with water, a novel procedure was used to prepare the material surface that would be representative of the bulk material. In contrast with published results, we observed drastic DOS modification (i.e. the appearance of a new peak close to the Fermi level at low temperature)

Dense Forests, cold Steppes and the palaeolithic Settlement of Northern Europe

Wetensch. publicatieFaculty of Archeolog

The Spectra of T Dwarfs I: Near-Infrared Data and Spectral Classification

We present near-infrared spectra for a sample of T dwarfs, including eleven new discoveries made using the Two Micron All Sky Survey. These objects are distinguished from warmer (L-type) brown dwarfs by the presence of methane absorption bands in the 1--2.5 \micron spectral region. A first attempt at a near-infrared classification scheme for T dwarfs is made, based on the strengths of CH$_4$ and H$_2$O bands and the shapes of the 1.25, 1.6, and 2.1 \micron flux peaks. Subtypes T1 V through T8 V are defined, and spectral indices useful for classification are presented. The subclasses appear to follow a decreasing T$_{eff}$ scale, based on the evolution of CH$_4$ and H$_2$O bands and the properties of L and T dwarfs with known distances. However, we speculate that this scale is not linear with spectral type for cool dwarfs, due to the settling of dust layers below the photosphere and subsequent rapid evolution of spectral morphology around T$_{eff}$ $\sim$ 1300--1500 K. Similarities in near-infrared colors and continuity of spectral features suggest that the gap between the latest L dwarfs and earliest T dwarfs has been nearly bridged. This argument is strengthened by the possible role of CH$_4$ as a minor absorber shaping the K-band spectra of the latest L dwarfs. Finally, we discuss one peculiar T dwarf, 2MASS 0937+2931, which has very blue near-infrared colors (J-K$_s$ = $-0.89\pm$0.24) due to suppression of the 2.1 \micron peak. The feature is likely caused by enhanced collision-induced H$_2$ absorption in a high pressure or low metallicity photosphere.Comment: 74 pages including 26 figures, accepted by ApJ v563 December 2001; full paper including all of Table 3 may be downloaded from http://www.gps.caltech.edu/~pa/adam/classification ;also see submission 010844

Discovery of a Brown Dwarf Companion to Gliese 570ABC: A 2MASS T Dwarf Significantly Cooler than Gliese 229B

We report the discovery of a widely separated (258\farcs3\pm0\farcs4) T dwarf companion to the Gl 570ABC system. This new component, Gl 570D, was initially identified from the Two Micron All Sky Survey (2MASS). Its near-infrared spectrum shows the 1.6 and 2.2 \micron CH$_4$ absorption bands characteristic of T dwarfs, while its common proper motion with the Gl 570ABC system confirms companionship. Gl 570D (M$_J$ = 16.47$\pm$0.07) is nearly a full magnitude dimmer than the only other known T dwarf companion, Gl 229B, and estimates of L = (2.8$\pm$0.3)x10$^{-6}$ L_{\sun} and T$_{eff}$ = 750$\pm$50 K make it significantly cooler and less luminous than any other known brown dwarf companion. Using evolutionary models by Burrows et al. and an adopted age of 2-10 Gyr, we derive a mass estimate of 50$\pm$20 M$_{Jup}$ for this object.Comment: 13 pages, 2 figures, 2 tables, accepted by ApJ