Hegel claimed that art can no longer compete with philosophy. But can film take us to places not available in theory?
From Issue No.7
by Jon Baskin
The director of four films beginning with Badlands in 1973, Terrence Malick studied philosophy with Stanley Cavell at Harvard before abandoning a doctorate on Heidegger, Kierkegaard and Wittgenstein. A promising journalist and academic—as well as…
by Tim Robey
The best word I’ve come across to describe David Cronenberg’s filmmaking style is “disembodied.” It was voiced as a criticism, but I think he’d own up to it. Whatever squelchy or peculiar or downright…
by Robert Pippin
There is something very striking about the mises-en-scène, the characters and the plot developments in the genre (a disputed classification) or historical cycle (by rough consensus 1941-1958) known as “film noir.” With respect to virtually any significant or pivotal action treated in many of these films (things like murdering someone or cheating on a spouse or informing on a confederate or committing suicide), almost no one in noirs behaves in a way that easily fits the reflective and deliberative models of action and agency prominent in philosophy since Aristotle.