Cinempathy: Phenomenology, Cognitivism, and Moving Images

Some of the most innovative philosophical engagement with cinema and ethics in recent years has come from phenomenological and cognitivist perspectives. This trend reflects a welcome re-engagement with cinema as a medium with the potential for ethical transformation, that is, with the idea of cinema as a medium of ethical experience. This paper explores the phenomenological turn in film theory, emphasizing the ethical implications of phenomenological approaches to affect and empathy, emotion, and evaluation. I argue that the oft-criticized subjectivism of phenomenological theories can be supplemented by cognitivist approaches that highlight the complex forms of affective response, emotional engagement, and moral allegiance at work in our experience of movies. An empathic ethics or “cinempathy” is at work in many films, I suggest, such as Ashgar Farhadi’s A Separation (2011), which offers a striking case study in cinematic ethic

Planet Melancholia: Romanticism, Mood, and Cinematic Ethics

Lars von Trierjeva Melanholija ponudi fascinantno raziskovanje filmske romantike in estetike filmskih razpoloženj. S pomočjo dramatizacije katastrofične izkušnje »izgube sveta« glavne junakinje Justine [Kirsten Dunst's], nam predstavi uničujočo podobo melanholije, ki najde ustrezni konec v sublimni filmski fantaziji izničenja sveta. V pričujočem članku analiziram nekatere estetske in filozofske sklope Melanholije, še posebej Von Trierjevo raziskovanje uporabe romantike in predstavitve filmskega razpoloženja. Von Trierer ne raziskuje namreč zgolj estetike melanholije, temveč tudi njene etične razsežnosti, s čimer ustvari umetniški film katastrofe, katerega sublimna upodobitev uničenja sveta ima paradoksni učinek razkritja ranljivosti in končnosti življenja na Zemlji.Lars von Trier’s Melancholia offers a fascinating exploration of cinematic romanticism and the aesthetics of cinematic moods. It presents a devastating portrait of melancholia, dramatizing the main character Justine’s [Kirsten Dunst’s] experience of a catastrophic “loss of world” that finds its objective correlative in a sublime cinematic fantasy of world-annihilation. In this article, I analyse some of the aesthetic and philosophical strands of Melancholia, exploring in particular its use of romanticism and presentation of cinematic mood. Von Trier explores not only the aesthetics of melancholia but its ethical dimensions, creating an art disaster movie whose sublime depiction of world-destruction has the paradoxical effect of revealing the fragility and finitude of life on Earth

Absolute Recoil: Towards a New Foundation of Dialectical Materialism

Slavoj Žižek continues his idiosyncratic critique of global capitalism, democratic culture, and neoliberal ideology in his latest 400+ page tome, Absolute Recoil: Towards a New Foundation of dialectical Materialism, which promises to provide, much like his Less than Nothing: Hegel and the Shadow of Dialectical Materialism (Verso, 2012), a resolutely idealist “new foundation” for dialectical materialism. This is a promise that Žižek has made for some years now, since what we might call his “system” turn became manifest in the publication of a series of major books (In Defense of Lost Causes [Verso, 2008]; Living in the End Times, Less than Nothing [Verso, 2010]; and now Absolute Recoil) that at once synthesize, repeat, elaborate, and interconnect diverse reflections on a bewildering variety of philosophical themes, cultural events, and political debates. These reflections often first appear in online journal publications or op-ed pieces, and in shorter, more coherent, pamphlet-book form (First as Tragedy, Then as Farce [Verso, 2009], Violence: Six Sideways Reflections [Picador, 2008], and Event: A Philosophical Journey through a Concept [Penguin, 2014]). As readers of Žižek will know, there is a shameless recycling, reiterating, and recasting of ideas from these shorter pieces within the longer books, which have what we might describe as musical “theme and variation” structure, with recurring themes that return in different contexts, subtly altered or reintegrated into different lines of thought. This is rather different from the more traditional model of a sequentially organized, teleologically directed, logical argument. It is one of the reasons for the perplexity many critics feel when confronted by his books, as compared with the more conventional “essayistic” style of his shorter works

Metaphysics of modernity: The problem of identity and difference in Hegel and Heidegger

This thesis examines the problem of identity and difference in Hegel and Heidegger and thereby attempts to shed light on the relationship between the critique of metaphysics and the critique of modernity. Both Hegel and Heidegger, it is argued, investigate identity and difference in relation to the problem of self-consciousness or subjectivity within the historical context of modernity. Their respective critiques of modern subject-metaphysics can for this reason also be viewed as critiques of the philosophical foundations of modernity. Two paths or lines of inquiry can be identified: Hegel’s dialectical-speculative path, which attempts to supersede modern subject-metaphysics in favour of speculative philosophy, the form of thought adequate to the experience of freedom in modernity; and Heidegger’s ontopoetic path, which attempts to detach itself from metaphysics in order to usher in a ‘non-metaphysical’ experience of technological modernity. These two paths are explored through a critical dialogue between Hegel and Heidegger as a way of showing the relationship between the critique of metaphysics and the critique of modernity. Part I of the thesis considers the philosophical background to the identity/difference problem and its relation to the principle of self-consciousness within modern philosophy. The early Hegel’s encounter with Kant and Fichte is explored as an attempt to criticise the (theoretical and practical) deficiencies of the philosophy of reflection. Part II considers Hegel’s positive project in the Phenomenology of Spirit, in particular the theme of intersubjective recognition and its significance for theorising self-consciousness in modernity. Hegel’s critique of substance- and subject-metaphysics is examined in the Science of Logic, which integrates the logic of identity and difference within the threefold Conceptual unity of universal, particular, and individual. Part III then turns to Heidegger’s explicit confrontation with Hegel, discussing Heidegger’s project of posing anew the question of Being, and examining in detail Heidegger’s “Cartesian-egological” reading of the Phenomenology. The later Heidegger’s “non-metaphysical” or ontopoetic evocation of identity and difference is further explored in light of Heidegger’s critical engagement with the nihilism of technological modernity. In conclusion, it is suggested that the critical dialogue between Hegel and Heidegger can open up new paths for exploring the problem of freedom in modernity

Sein und Geist: Heidegger's Confrontation with Hegel's Phenomenology

This paper pursues the lsquo;thinking dialoguersquo; between Hegel and Heidegger, a dialogue centred on Heideggerrsquo;s lsquo;confrontationrsquo; with Hegelrsquo;s Phenomenology of Spirit. To this end, I examine Heideggerrsquo;s critique of Hegel on the relationship between time and Spirit; Heideggerrsquo;s interpretation of the Phenomenology as exemplifying the Cartesian-Fichtean metaphysics of the subject; and Heideggerrsquo;s later reflections on Hegel as articulating the modern metaphysics of lsquo;subjectityrsquo;. I argue that Heideggerrsquo;s confrontation forgets those aspects of Hegelrsquo;s philosophy that make him our philosophical contemporary: Hegelrsquo;s thinking of intersubjectivity and recognition, of the historicity of the experience of spirit, and his critique of modernity. The point of this dialogue is to begin a retrieval of Hegel from Heideggerrsquo;s critical deconstruction, and thus to suggest that the future of Hegelmdash;in Catherine Malaboursquo;s phrasemdash;remains something still to-com

Life and the Technical Transformation of Différance: Stiegler and the Noopolitics of Becoming Non-Inhuman

Through a re-articulation of Derridean différance, Bernard Stiegler claims that the human is defined by an originary default that displaces all psychic and social life onto technical supplements. His philosophy of technics re-articulates the logic of the supplement as concerning both human reflexivity and its supports, and the history of the différance of life itself. This has been criticised for reducing Derrida’s work to a metaphysics of presence, and for instituting a humanism of the relation to the inorganic. By refuting these claims, this article will show that Stiegler’s doubling of différance enables him to articulate the human as constituted by both the individuation characteristic of ‘life’, and that of a technical, psychic and collective individuation. Putting forward a reading of the logic of the trace in life, and emphasising the aspects of Leroi-Gourhan, Simondon, and Canguilhem that Stiegler uses in his reading of Derrida, I will demonstrate that the political stakes of adaption and adoption in Noo-Politics require this re-articulation of différance. Technics shapes the human future, arising from this differential mutation; marking the invention of the human as the site of the political

Postsecular ethics : the case of Iñárittu’s Biutiful

20 page(s

Technē and Poiēsis : on Heidegger and film theory

16 page(s