The first collection of its kind, The Continental Philosophy of Film Reader is the essential anthology of writings by continental philosophers on cinema, representing the last century of film-making and thinking about film, as well as all of the major schools of Continental thought: phenomenology and existentialism, Marxism and critical theory, semiotics and hermeneutics, psychoanalysis, and postmodernism. Included here are not only the classic texts in continental philosophy of film, from Benjamin's “The Work of Art in the Age of Mechanical Reproduction” to extracts of Deleuze's Cinema and Barthes's Mythologies, but also the earliest works of Continental philosophy of film, from thinkers such as Georg Lukács, and little-read gems by philosophical giants such as Sartre and Beauvoir. The book demonstrates both the philosophical significance of these thinkers' ideas about film, as well their influence on filmmakers in Europe and across the globe. In addition, however, this wide-ranging collection also teaches us how important film is to the last century of European philosophical thought. Almost every major continental European thinker of the twentieth and twenty-first centuries has had something to say-sometimes, quite a lot to say-about cinema: as an art form, as a social or political phenomenon, as a linguistic device and conveyor of information, as a projection of our fears and desires, as a site for oppression and resistance, or as a model on the basis of which some of us, at least, learn how to live. Purpose built for classroom use, with pedagogical features introducing and contextualizing the extracts, this reader is an indispensable tool for students and researchers in philosophy of film, film studies and the history of cinema.

Philosophers on Film from Bergson to Badiou is an anthology of writings on cinema and film by many of the major thinkers in continental philosophy. The book presents a selection of fundamental texts, each accompanied by an introduction and exposition by the editor, Christopher Kul-Want, that places the philosophers within a historical and intellectual framework of aesthetic and social thought. Encompassing a range of intellectual traditions—Marxism, phenomenology, psychoanalysis, poststructuralism, gender and affect theories—this critical reader features writings by Bergson, Benjamin, Adorno and Horkheimer, Merleau-Ponty, Baudrillard, Irigaray, Lyotard, Deleuze, Kristeva, Agamben, Žižek, Nancy, Cavell, Rancière, Badiou, Stiegler, and Silverman. Many of the texts discuss cinema as a mass medium; others develop phenomenological analyses of particular films. Reflecting upon the potential of films to challenge dominant forms of ideology, the anthology considers the ways in which they can disrupt the clichés of capitalist images and offer radical possibilities for creating new worlds of visceral experience outside the grasp of habitual forms of knowledge and subjectivity. Ranging from the early silent period of cinema through the classics of European and Hollywood cinema to the early twenty-first century, the films discussed offer a vivid sense of these philosophers’ concepts and ideas, casting new light on the history of cinema. This reader is an essential and valuable resource for a wide range of courses in film and philosophy.

Philosophy goes to the Movies is a new kind of introduction to philosophy that makes use of movies including The Matrix, Antz, Total Recall and Cinema Paradiso, to explore philosophical ideas. Topics covered include: *the theory of knowledge *the self and personal Identity *moral philosophy *social and political philosophy *philosophy of science and technology *critical thinking. Ideal for the beginner, this book guides the student through philosophy using lively and illuminating cinematic examples. It will also appeal to anyone interested in the philosophical dimensions of cinema.

Simon Critchley's Very Short Introduction shows that Continental philosophy encompasses a distinct set of philosophical traditions and practices, with a compelling range of problems all too often ignored by the analytic tradition. He discusses the ideas and approaches of philosophers such as Kant, Hegel, Nietzsche, Husserl, Heidegger, Sartre, Habermas, Foucault, and Derrida, and introduces key concepts such as existentialism, nihilism, and phenomenology by explaining their place in the Continental tradition. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Aesthetics: A Reader in Philosophy of the Arts, fourth edition, contains a selection of ninety-six readings organized by individual art forms as well as a final section of readings in philosophical aesthetics that cover multiple art forms. Sections include topics that are familiar to students such as painting, photography and movies, architecture, music, literature, and performance, as well as contemporary subjects such as mass art, popular arts, the aesthetics of the everyday, and the natural environment. Essays are drawn from both the analytic and continental traditions, and multiple others that bridge this divide between these traditions. Throughout, readings are brief, accessible for undergraduates, and conceptually focused, allowing instructors many different syllabi possibilities using only this single volume. Key Additions to the Fourth Edition The fourth edition is expanded to include a total of ninety-six essays with nineteen new essays (nine of them written exclusively for this volume), updated organization into new sections, revised introductions to each section, an increased emphasis on contemporary topics, such as stand-up comedy, the architecture of museums, interactivity and video games, the ethics of sexiness, trans/gendered beauty, the aesthetics of junkyards and street art, pornography, and the inclusion of more diverse philosophical voices. Nevertheless, this edition does not neglect classic writers in the traditional aesthetics: Plato, Aristotle, Hume, Kant, Hegel, Heidegger, Collingwood, Bell, and writers of similar status in aesthetics. The philosophers writing new chapters exclusively for this fourth edition are: • Sondra Bacharach on street art • Aili Bresnahan on appreciating dance • Hina Jamelle on digital architecture • Jason Leddington on magic • Sheila Lintott on stand-up comedy • Yuriko Saito on everyday aesthetics • Larry Shiner on art spectacle museums in the twenty-first century • Peg Brand Weiser on how beauty matters • Edward Winters on the feeling of being at home in vernacular architecture, as in such urban places as bars.

The Dimensions of Difference departs from traditional takes on feminist film criticism, and in particular from the psychoanalytical focus on the gaze, to examine the question of sexual difference through three axes: space, time, and bodies. These are some of the most fundamental elements of cinema, which deploys the bodies of actors through space and time, for instance, through camerawork and editing. While this approach may not at first sight seem to be related to questions of gender and sexuality, Caroline Godart demonstrates its relevance to feminist film studies by weaving together careful analyses of space, time, and bodies in women’s cinema with close readings of the same concepts in the works of three philosophers: Luce Irigaray, Henri Bergson, and Gilles Deleuze. The book investigates how certain films generate a cinematic experience of sexual difference, and frames this analysis within a careful philosophical inquiry into the notion of alterity itself. These tools provide fruitful resources for feminist inquiry, giving insights into sexual difference as it operates within film aesthetics and, beyond cinema, in the world at large. The result is a compelling reflection on feminism, film form, and continental philosophy.

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

Originally published as the Continuum Companion to Continental Philosophy, this book offers the definitive guide to contemporary Continental thought. It covers all the most pressing and important themes and categories in the field - areas that have continued to attract interest historically as well as topics that have emerged more recently as active areas of research. Twelve specially commissioned essays from an international team of experts reveal where important work continues to be done in the field and, valuably, how the various topics intersect. Featuring a series of indispensable research tools, including an A to Z of key terms and concepts, a chronology, and a guide to practical research in the field, this is the essential reference tool for anyone working in and studying Continental Philosophy.

Here, for the first time, Christopher Kul-Want brings together twenty-five texts on art written by twenty philosophers. Covering the Enlightenment to postmodernism, these essays draw on Continental philosophy and aesthetics, the Marxist intellectual tradition, and psychoanalytic theory, and each is accompanied by an overview and interpretation. The volume features Martin Heidegger on Van Gogh's shoes and the meaning of the Greek temple; Georges Bataille on Salvador Dalí's The Lugubrious Game; Theodor W. Adorno on capitalism and collage; Walter Benjamin and Roland Barthes on the uncanny nature of photography; Sigmund Freud on Leonardo Da Vinci and his interpreters; Jacques Lacan and Julia Kristeva on the paintings of Holbein; Freud's postmodern critic, Gilles Deleuze on the visceral paintings of Francis Bacon; and Giorgio Agamben on the twin traditions of the Duchampian ready-made and Pop Art. Kul-Want elucidates these texts with essays on aesthetics, from Hegel and Nietzsche to Badiou and Rancière, demonstrating how philosophy adopted a new orientation toward aesthetic experience and subjectivity in the wake of Kant's powerful legacy.