This pathbreaking collection of thirteen original essays examines the moral rights of the subjects of documentary film, photography, and television. Image makers--photographers and filmmakers--are coming under increasing criticism for presenting images of people that are considered intrusive and embarrassing to the subject. Portraying subjects in a "false light," appropriating their images, and failing to secure "informed consent" are all practices that intensify the debate between advocates of the right to privacy and the public's right to know. Discussing these questions from a variety of perspectives, the authors here explore such issues as informed consent, the "right" of individuals and minority groups to be represented fairly and accurately, the right of individuals to profit from their own image, and the peculiar moral obligations of minorities who image themselves and the producers of autobiographical documentaries. The book includes a series of provocative case studies on: the documentaries of Frederick Wiseman, particularly Titicut Follies; British documentaries of the 1930s; the libel suit of General Westmoreland against CBS News; the film Witness and its portrayal of the Amish; the film The Gods Must be Crazy and its portrayal of the San people of southern Africa; and the treatment of Arabs and gays on television. The first book to explore the moral issues peculiar to the production of visual images, Image Ethics will interest a wide range of general readers and students and specialists in film and television production, photography, communications, media, and the social sciences.

'Image Ethics in the Digital Age' brings together leading experts in the fields of journalism, media studies, & law to address the challenges presented by new technology & assess the implications for personal & societal values & behavior.

Existing critical traditions fail to fully account for the impact of Austrian director, and 2009 Cannes Palm d'Or winner, Michael Haneke’s films, situated as they are between intellectual projects and popular entertainments. In this first English-language introduction to, and critical analysis of, his work, each of Haneke’s eight feature films are considered in detail. Particular attention is given to what the author terms Michael Haneke’s ‘ethical cinema’ and the unique impact of these films upon their audiences. Drawing on the moral philosophy of Immanuel Kant and Stanley Cavell, Catherine Wheatley, introduces a new way of marrying film and moral philosophy, which explicitly examines the ethics of the film viewing experience. Haneke’s films offer the viewer great freedom whilst simultaneously imposing a considerable burden of responsibility. How Haneke achieves this break with more conventional spectatorship models, and what its far-reaching implications are for film theory in general, constitute the principal subject of this book.

Few phenomena are as formative of our experience of the visual world as displays of suffering. But what does it mean to have an ethical experience of disturbing or traumatizing images? This collection of essays offers a reappraisal of the increasingly complex relationship between images of pain and the ethics of viewing.

In this highly provocative and informed work, Byron L. Sherwin, one of the leading Jewish ethicists of our time, demonstrates how the wisdom of the past—found in classical texts that form Jewish religious tradition—can forcefully address the moral perplexities of the present. In setting out a contemporary agenda for Jewish ethics, Sherwin debunks common misconceptions about Jewish ethics and distinguishes between the ethics of Judaism and various forms of secular and religious ethics. He shows, for example, how the ethics of Judaism and the ethics of Jews often are at odds, how the Judeo-Christian ethic is an obsolete myth, and how Jewish and G:hristian ethics radically differ both in terms of their theological assumptions and in their applied methodologies. Sherwin delineates a methodology for Jewish ethics, which he applies to a wide variety of issues such as health and healing, euthanasia, reproductive biotechnology, cloning, parent-child relationships, economic justice, repentance or "moral rehabilitation," and the relationship between humans and machines. Drawing on a wide range of biblical, rabbinical, Jewish philosophical and kabbalistic sources, Jewish Ethics for the Twenty-First Century links the biblical term "image of God" to moral freedom, human creativity and the challenge of becoming God's "partner in creation" and a coauthor of the Torah.

Just Images: Ethics and the Cinematic charts current developments within the field of ethics and the role it plays in the study of moving images. It is the first collection of essays of its kind that brings together articles by film and media scholars from three continents, and provides multiple points of engagement of film with present and past histories, politics, myth making, and with core aspects of human subjectivity. The essays cover a wide range of topics, such as the European Union; Europe during World War II and after; film genres; the Israeli–Palestinian conflict; early American history, and recent catastrophic events. The collection includes an introductory chapter by Thomas Elsaesser as well as chapters by Kristian Feigelson, Régine-Mihal Friedman, Nurith Gertz and Gal Hermoni, Anton Kaes, Gertrud Koch, Odeya Kohen-Raz, Lihi Nagler, Judd Ne’eman, Bill Nichols, and Janet Walker. The contributors offer different approaches to the issue of film and ethics and ask whether there are specific characteristics of the moving image, or of film scholarship, that relate to ethical issues; and how discussing the engagement of both narrative and documentary film with representations of the Other, trauma, terrorism, the Holocaust, and the Palestinian–Israeli conflict may contribute to the re-shaping of past and current thoughts on these subjects.

Kristien Hens succeeds in weaving together experiential expertise of both people with autism and their parents, scientific insights and ethics, and does so with great passion and affection for people with autism (with or without mental or other disabilities). In this book she not only asks pertinent questions, but also critically examines established claims that fail to take into account the criticism and experiences of people with autism. Sam Peeters, author of Autistic Gelukkig (Garant, 2018) and Gedurfde vragen (Garant, 2020); blog @ Tistje.com What does it mean to say that someone is autistic? Towards an Ethics of Autism is an exploration of this question and many more. In this thoughtful, wide-ranging book, Kristien Hens examines a number of perspectives on autism, including psychiatric, biological, and philosophical, to consider different ways of thinking about autism, as well as its meanings to those who experience it, those who diagnose it, and those who research it. Hens delves into the history of autism and its roots in the work of Leo Kanner and Hans Asperger to inform a contemporary ethical analysis of the models we use to understand autism today. She explores the various impacts of a diagnosis on autistic people and their families, the relevance of disability studies, the need to include autistic people fully in discussions about (and research on) autism, and the significance of epigenetics to future work on autism. Hens weaves together a variety of perspectives that guide the reader in their own ethical reflections about autism. Rich, accessible, and multi-layered, this is essential reading for philosophers, educational scientists, and psychologists who are interested in philosophical-ethical questions related to autism, but it also has much to offer to teachers, allied health professionals, and autistic people themselves.

This book is a comprehensive introduction to media ethics and an exploration of how it must change to adapt to today's media revolution. Using an ethical framework for the new 'mixed media' ethics – taking in the global, interactive media produced by both citizens and professionals – Stephen J. A. Ward discusses the ethical issues which occur in both mainstream and non-mainstream media, from newspapers and broadcast to social media users and bloggers. He re-defines traditional conceptions of journalistic truth-seeking, objectivity and minimizing harm, and examines the responsible use of images in an image-saturated public sphere. He also draws the contours of a future media ethics for the 'new mainstream media' and puts forward cosmopolitan principles for a global media ethics. His book will be invaluable for all students of media and for others who are interested in media ethics.

John Wesley strived for a theology--a theology both written and lived--that delicately balanced sanctification and justification. He hoped to uphold both "faith alone" and "holy living." Sadly, says theologian H. Ray Dunning, many of Wesley's followers have not maintained that balance. Some have tended toward legalism, some toward a preoccupation with personal holiness, and others toward social activism with little theological grounding. Dunning believes Wesleyanism possesses the resources to help all Christians "reflect the divine image," and to do so holistically, in all aspects of life. His book incisively examines issues of ethical methodology and then shows how an ethic based on the "Imago Dei" shapes our relation to God, to one another and to the earth. This introduction to and overview of ethics will enlighten and benefit Christians in all traditions, not despite but especially because it is written in the true Wesleyan tradition--passionate, profoundly faithful and plainspoken.