By James Phillips
Every one essay in Cinematic pondering is geared up round an interpretation of a postwar filmmaker and the philosophical matters his or her paintings increases. The filmmakers lined are Alfred Hitchcock, Luchino Visconti, Michelangelo Antonioni, Robert Altman, Carlos Saura, Glauber Rocha, Margarethe von Trotta, Rainer Werner Fassbinder, Wim Wenders, and Claire Denis. because the authors gathered listed below are philosophers, instead of movie critics, the quantity methods its topics with a special set of pursuits and commitments from the majority of works in movie concept. reminiscence, judgment, subjectivity, terrorism, feminism, wish, race relatives, adventure, the paintings of mourning, and utopia are one of the questions mentioned with regards to the most major motion pictures of the final fifty years. This assortment analyzes the theoretical and political contexts during which the movies have been made and examines their reception right down to the current day.
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The "stranger," the central figure in the film of Camus' novel, passes over entirely into the anonymity of the social immanence with which he involuntarily collides, in an unexpected movement of exaggeration, of the exaggerated effect of the Luchino Visconti 33 sunlight whose conspicuousness Visconti ensures throughout, even strewing the sand with blindingly reflective, tiny mirrors. The glinting knife of the Arab youth stabs at his murderer's eyes. Meursault refuses to wear the mask of subjectivity that, within the prevailing society, imposes a relationship to a transcendence—to the transcendence of a meaning whose possibility hypocrisy realizes.
10 To speak of the dead is, however, not on this account senseless, because the figures, even the landscapes that draw the figures into themselves and for their part turn into figures, are just as little fanciful concoctions. Something somnambulistic corresponds to them. Before Amina sings and the enlightened count familiarizes the baffled villagers with the phenomenon of somnambulism, she is considered a ghost. Morte a Venezia reminds the viewer that the dead have arisen, that the life that the film gives them is both immortal and transitory, as though the dead were at the same time unborn.
Hence it is not simply the same whether one understands something through the expression of individual films, through the constellation that a series of films composes, or through conceptual means whereby one attempts to conceptualize an insight. There are many ways of understanding, and in all of them the faculty of understanding itself, the possibility of understanding something, has a part. Must, however, the insight—that which is understood—be so affected by this difference that in the end only in the case of the knowledge employing and indebted to conceptual means can one speak of an insight?