LA 1004 Film and Philosophy

LA 1004 Film and Philosophy Semester 2, 2014-2015. MC 107 Mondays: 9.30 – 12.00

Outline 08.01.15.

More detailed versions of each week will be e-mailed to you in advance.

The films featured here are intended, in the main, as ‘polyvalent’ stimuli for philosophical reflection. In the first instance they serve as sources of illustration – social settings, varieties of perception, dilemmas of action and consequence, etc. This entails that at various points your attention will be directed towards using a particular film as a test-bed for some of the traditional problems of philosophy. However, in other weeks we will be considering the experiences associated with the film medium itself. In part, this will entail becoming familiar with the ‘rhetoric’ of film, but we will be also looking for the possibility of new philosophical generalisations being provoked by filmic experience.

The normal pattern for each lecture will, ideally, start with student-led commentary on the previous week’s work, followed by general discussion of the conclusions to be drawn, before turning to a tutor-led overview of the next selected problem area. Usually, only partial screenings will take place during these times, but it should be recognised that the complete viewing of these films, and analysis of their scripts, is always advisable whenever possible and this will need to be completed outside of the lecture/seminar setting. It is strongly recommended that you organise yourselves into one or more ‘screening groups’, as joint discussion will nearly always be found useful, if not always enlightening!

Learning Outcomes:- 1. Demonstrate engagement with texts and ideas relevant to the philosophical and filmic treatments offered in this module. 2. Demonstrate reflection on experiences and the wider contexts in which they take place. 3. Communicate experiences of texts and ideas as appropriate. 4. Show knowledge and understanding of specialist terminology. 5. Demonstrate requisite research skills in gathering, summarizing, and presenting evidence including proficiency in referencing and academic conventions. Teaching:- Media texts will be tackled by a combination of viewing, reference to selected sections of film script where available, and/or reference to existing critical responses. Apart from e-texts and viewings, photocopies of appropriate sections will sometimes be used in relation to the philosophical sources being featured. A normal expectation of engagement with the course process is that students will take part in one or more of the ‘student presentations’ featured each week. These will normally take the form of group presentations lasting for ten to fifteen minutes, followed by further open comment and discussion.

Assessment: Two essays – 1750 words. The first is tutor-set, while the second assignment presents two choices of title. As a third alternative at this point, you may negotiate a title that features either one film in its entirety or a single philosophical problem related to some aspect of filmic experience.

Assignment 1: Does the film image function as simulated memory? Is its apparent movement an important aspect of this? (N.B. essential viewing and reference for this is Chris Marker’s La Jetée, available on YouTube.) - Due Monday week 5, Feb 9th .

Assignment 2:- Note that resources for both of these alternatives are located at the end of the series of descriptions for the first eight weeks.

The American philosopher, Suzanne Langer, in her book Feeling and Form, suggested that the experience of film was very much like that of the dream. Is this a philosophically interesting comment – and if it isn’t, what needs to be changed to make it so?

Or Explain how Roland Barthes’ analysis complicates the understanding of montage developed by Sergei Eisenstein – Due Wednesday week 13 May 6th, (or earlier).

Overviews supporting the illustrative uses of film for philosophy: Allen, R. & Smith, M. (1997) Film Theory and Philosophy Oxford: Clarendon Press Litch, M. (2002) Philosophy Through Film London: Routledge. Wartenberg, T. & Freeland, C. (1995) Philosophy and Film London: Routledge

Equivalent overviews for film as a form of rhetoric: Blakesley, D. (2003) The Terministic Screen: rhetorical perspectives on film London: Eurospan Livingstone, P. (2009) Cinema, Philosophy, Bergman: on film as philosophy Oxford: Oxford University Press. Plantinga, C. (1997) Rhetoric and Representation in Nonfiction Film Cambridge: Cambridge University Press Read, R. & Goodenough, J. (2005) Film as Philosophy Basingstoke: Palgrave.

Philosophers and others who have offered important contributions to theory

Hugo Münsterberg The Photoplay generally recognised as the first serious work on film theory, for example, he developed an analogy between film form and the mind. Langdale, A. ed. (2002) Hugo Munsterberg on Film – The Photoplay: a psychological study and other writings London: Routledge http://isites.harvard.edu/icb/icb.do?keyword=k27441&pageid=icb.page124040 http://isites.harvard.edu/fs/docs/icb.topic235132.files/Bruno_ %20GreyRoom36_FINAL-1.pdf

Vilém Flusser – Towards a Philosophy of Photography – a particularly pure theorist who draws out very wide perspectives on Modernity. General information at http://en.wikipedia.org/wiki/Vil%C3%A9m_Flusser http://www..flusser-archive.org/archive http://www.flusserstudies.net/ pdf: http://www.google.co.uk/url? sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0CC8QFj AA&url=http%3A%2F%2Fmonoskop.org%2Fimages%2Fc %2Fc4%2FFlusser_Vilem_Towards_a_Philosophy_of_Photography.pdf&ei=H dlXU4DpOoXsOu7CgaAO&usg=AFQjCNG65zfYw1FfheKSo9T6fqrSh62ZTg &sig2=nmZPiyyNkZqZdkKiA7BvlQ

Siegfried Krakauer – From Caligari to Hitler, and Theory of Film – Krakauer, of all the theorists considered here, comes closest to Walter Benjamin in his aesthetics. His foundational influence is now widely recognised. General information at http://en.wikipedia.org/wiki/Siegfried_Kracauer http://criticalinquiry.uchicago.edu/uploads/pdf/Hansen,_With_Skin %20_and_Hair.pdf https://archive.org/details/theoryoffilmrede00krac https://archive.org/details/From_Caligari_to_Hitler_A_Psychological_History_ Of_German_Film_Siegfried_Kracaue

Theodor Adorno – in general, Adorno considers film to be an irredeemably vulgar feature of the culture industry – his time spent in Hollywood did not help! However, various recent studies have argued for a more nuanced analysis of Adorno’s writings. See, for instance, and apart from the chapter in Colman - General background at http://en.wikipedia.org/wiki/Culture_industry http://www.marxists.org/reference/archive/adorno/1944/culture-industry.htm sample of copyrighted material: http://www.palgrave.com/PDFs/9781137306135_sample.pdf

Antonin Artaud – a collection of his essays made by Susan Sontag in 1976 is probably the best source of immediate insight into the various projects of the writer who advanced the cause of the Theatre of Cruelty – reminiscent of Münsterberg, Artaud drew an analogy between the brain and the film screen. Sontag’s book was simply called Antonin Artaud: selected writings. A more recent critical review in the library is Scheer, E. (2004) Antonin Artaud: a critical reader London: Routledge General information at http://en.wikipedia.org/wiki/Antonin_Artaud http://www.uturn.org/magrini/artaud.pdf https://soma.sbcc.edu/users/davega/FILMST_113/Filmst113_ExFilm_Theory/T he%20Lost%20Prophet%20of%20Cinema_%20The%20Film%20Theory%20of %20Antonin%20Artaud.pdf http://www.closeupfilmcentre.com/vertigo_magazine/volume-3-issue-8-winter- 2008/the-last-words-of-antonin-artaud/

Henri Bergson – apart from being referenced as the starting point for Giles Deleuze’s two books on film (Cinema 1: the movement image, and Cinema 2: the time image). Bergson made few direct references to film, but in his Creative Evolution see his Chapter Four. Once again the cinematic apparatus is likened to the function of the intellect – particularly as this relates to memory. http://plato.stanford.edu/entries/bergson/ http://www.gutenberg.org/files/26163/26163-h/26163-h.htm http://www.icr.org/article/creative-evolution-anti-darwin-theory-won-nobel/ http://www.iep.utm.edu/filmcont/ http://www.youtube.com/watch?v=iCizw3UtpWI http://www.princeton.edu/~achaney/tmve/wiki100k/docs/Film_theory.html Maurice Merleau-Ponty – a key thinker within the study of existential phenomenology, basing many of his ideas on those of Edmund Husserl. What emerges from many of his essays is the conception of our thinking as being irretrievably embodied; currently the best immediate source is the 1993 text, The Merleau-Ponty Aesthetics Reader. A number of other theorists have expanded upon Merleau-Ponty’s ideas – see, for instance, Olkowski, D. (2007) The Universal (in the Realm of the Sensible: beyond Continental Philosophy Edinburgh: Edinburgh University Press, and Marks, L. U. (2000) The Skin of the Film: intercultural cinema, embodiment, and the senses Durham, NC: Duke University Press. In our library an introduction is offered by Matthews, E. (2002) The Philosophy of Merleau-Ponty Chesham: Acumen General information at http://en.wikipedia.org/wiki/Maurice_Merleau-Ponty http://en.wikipedia.org/wiki/Internet_Encyclopedia_of_Philosophy http://en.wikipedia.org/wiki/Stanford_Encyclopedia_of_Philosophy English translations of essays, etc. http://think.hyperjeff.net/Merleau-Ponty/ http://pubpages.unh.edu/~jds/Signs%20Ch4.htm

These, then, are the themes, philosophical texts, and media texts selected for this module. In order to make your task of pulling resources together simpler, I have given a very full account of the first week. Equivalent information about subsequent weeks will be sent to you via e-mail:-

Week 1 Introduction – on memory Film stimulus: Chris Marker’s La Jetée. Recommended additional film for study purposes: Momento.

La Jetée – there are many variations for this http://www.criterion.com/films/329-la-jetee http://www.youtube.com/watch?v=-smEWxVUy3A http://www.chrismarker.org/jean-louis-schefer-on-la-jete/

Momento http://en.wikipedia.org/wiki/Memento_(film) http://www.youtube.com/watch?v=0vS0E9bBSL0 Film script http://www.christophernolan.net/files/memento-script.pdf Official site http://www.mementonostri.com/ Short story developed by Nolan’s brother http://www.impulsenine.com/homepage/pages/shortstories/memento_mori. htm Youtube of this http://www.youtube.com/watch?v=y3iW-C71D68

Possible alternatives: The Bourne Identity, The Butterfly Effect, The Changling, Eternal Sunshine of the Spotless Mind, Finding Nemo, Groundhog Day, The Hulk, Life on Mars, The Manchurian Candidate, The Matrix, Mulholland Drive, Solaris, Total Recall.

The Philosophy of Memory http://blog.talkingphilosophy.com/?p=2396 http://plato.stanford.edu/entries/memory/ http://universitypublishingonline.org/cambridge/companions/chapter.jsf? bid=CBO9781139000291&cid=CBO9781139000291A016 http://www.studentpulse.com/articles/275/the-lockean-memory-theory-of- personal-identity-definition-objection-response http://www.history.ucsb.edu/faculty/marcuse/classes/201/articles/87HuttonA rtMemoryReconceivedJnlHistIdeas.pdf http://www.tylershores.com/2010/03/13/alice-and-the-philosophy-of- memory/ http://www.strategiccinema.ir/files/books/tocs/Alice%20in%20Wonderland %20and%20Philosophy_site.pdf

References for follow-up: Locke, J. (1969) An Essay Concerning Human Understanding, abridged and edited by A. S. Pringle-Pattison, Oxford: Clarendon Press, Book II, Ch. 10 ‘Of Retention’ p. 79-80. All of the surrounding text in Book II will be found to be of interest and relevance to this course – the book as a whole precipitated a revolution in thought in England, cementing the empiricist tradition in science, and in France it dominated the thinking of the Encyclopaedists, such as Diderot and, to a degree, Rousseau. It also framed the central argument of Kant’s critical philosophy. Hume, D. (1964) A Treatise of Human Nature, edited L. A. Selby-Bigge, Oxford: Clarendon Press, Book I, section III ‘Of the ideas of the memory and imagination’, p. 8-10. As with Locke, you will find this short section embedded in a much longer discussion of human understanding and the nature of our ideas. If you use the index of this volume you will also find that there are many more aspects to Hume’s treatment of memory. Hume was not only influential in England as the principal architect of the psychological theory of association, his discussion of causation and perception drove Kant from his ‘slumbers’, and set the frame for the German development of aesthetic theory during the end of the Eighteenth Century and the beginning of the Nineteenth.

Locke’s Essay on Human Understanding http://www.earlymoderntexts.com/pdfbits/loess.html ftp://ftp.dca.fee.unicamp.br/pub/docs/ia005/humanund.pdf http://www.free-ebooks.net/ebook/An-Essay-Concerning-Human- Understanding/pdf/view Discussion Start Book II, Chapter 25, but many focus on 27. http://www.studentpulse.com/articles/275/the-lockean-memory-theory-of- personal-identity-definition-objection-response http://www.philosophyideas.com/files/mind/Locke%20on%20Personal %20Identity.pdf http://www.jstor.org/stable/3750072 Three general overviews: http://plato.stanford.edu/entries/memory/ http://ist-socrates.berkeley.edu/~kihlstrm/SelfIdentityMemory.htm http://en.wikiversity.org/wiki/Historical_Introduction_to_Philosophy/Personal _Identity

Hume’s Treatise http://en.wikipedia.org/wiki/A_Treatise_of_Human_Nature http://www.davidhume.org/texts/thn.html http://oll.libertyfund.org/?option=com_staticxt&staticfile=show.php %3Ftitle=342 http://michaeljohnsonphilosophy.com/wp- content/uploads/2012/01/5010_Hume_Treatise_Human_Nature.pdf http://www.uwplatt.edu/~drefcins/humeencyclopediaentry.html http://voices.yahoo.com/an-analysis-david-humes-treatise-human-nature- 441232.html

For a really rounded experience see St. Augustine’s Confessions, Book 10, Chapters 6-30 which presents a particularly Christianised inflection of Ancient Greek thought, while Descartes’ The Passions of the Soul gives a perspective even more troubled by the dawning thoughts of empiricism than was St. Augustine’s account. For both Descartes and Augustine, the web sources are:

St. Augustine Confessions http://www.stoa.org/hippo/ (Confessions, Book 10) http://www.ourladyswarriors.org/saints/augcon10.htm Discussion http://www.cliffsnotes.com/study_guide/literature/st-augustines- confessions/summary-analysis/book-10/chapters-1-25.html http://www.gradesaver.com/confessions/study-guide/section10/

Descartes (The Treatise of Man and The Passions of the Soul Treatise of Man http://www.rcpe.ac.uk/journal/issue/journal_39_4/ex-libris.pdf Passions of the Soul http://www.corwin.com/upm-data/23183_Chapter_11.pdf http://net.cgu.edu/philosophy/descartes/Passions_Letters.html Discussion http://www.bc.edu/publications/newarcadia/meta-elements/pdf/3/soul.pdf http://plato.stanford.edu/entries/pineal-gland/#3.1 http://www.oxfordscholarship.com/view/10.1093/0199261237.001.0001/acpr of-9780199261239-chapter-4

Library sources: Augustine, Saint (2002) The Confessions London: Dover Bernecker, S. (2010) Memory: a philosophical study Oxford: Oxford University Press Carruthers, M. J. (2008) The Book of Memory: a study of memory in medieval culture Cambridge: Cambridge University Press Clarke, D. (2003) Descartes’ Theory of Mind Oxford: Clarendon Crane, S. (2000) Museums and Memory Cambridge: Cambridge University Press Cubitt, G. (2007) History and Memory Manchester: Manchester University Press Fodor, J. (2005) Hume Variations Oxford: Clarendon Frasca-Spada, M. & Kail, P. (2005) Images of Hume Oxford: Clarendon Gardner, P. (2010) Hallam, E. (2001) Death, Memory and Material Culture Oxford: Berg Hume, D. (2006) A Treatise on Human Nature Oxford: Clarendon Locke, D. (1971) Memory London: Macmillan Locke, J. (1975) An Essay Concerning Human Understanding Oxford: Clarendon Press. Lupton, C. (2004) Chris Marker: memories of the future London: Reaktion Margalit, A. (2002) The Ethics of Memory Cambridge, Mass., Harvard University Press Rossington, M. & Whitehead, A. (2007) Theories of Memory: a reader Edinburgh: Edinburgh University Press Schama, S. (1996) Landscape and Memory London: Fontana Stroud, B. (1988) Hume London: Routledge

Week 2 Personal Identity

Student presentation: the significance of memory for personal identity.

Film stimulus: Blade Runner

Possible alternatives: Orlando, and then any of Secrets and Lies, Avatar, Being John Malkovitch, Invasion of the Body-Snatchers, The Bourne Identity, Persona, Regarding Henry, Robocop.

Library sources: Burkitt, I. (1999) Bodies of Thought: embodiment, identity and modernity London: SAGE Finnis, J. (2011) Intention and Identity Cambridge: Cambridge University Press Korsgaard, C. (2009) Self-Constitution: agency, identity and integrity Oxford: Oxford University Press Olson, E. T. (1999) The Human Animal: personal identity without psychology Oxford: Oxford University Press Olson, E. T. (2007) What Are We? A study in personal ontology Oxford: Oxford University Press Strawson, G. (2011) The Evident Connexion: Hume on personal identity Oxford: Oxford University Press Thiel, U. (2011) The Early Modern Subject: self-consciousness and personal identity from Descartes to Hume Zaborawski, H. (2009) Robert Spaemann’s Philosophy of the Human Person: nature, freedom, and the critique of modernity Oxford: Oxford University Press

Week 3 Free Will & Determinism

Student presentation – the place of contingency in identity

Film stimulus: A Clockwork Orange

Possible alternatives: Minority Report, and then any of 2001: a space odyssey, The Adjustment Bureau, Elizabeth (Cate Blanchett film), GATTACA, King Kong, Psycho, The Rules of the Game, Sliding Doors, Vertigo. Library sources: Augustine (1993) On Free Choice of the Will Indianapolis: Hackett Publishing Co. Baumeister, R., Mele, A., & Vohs, K. (2010) Free-Will and Consciousness: how might they work? Oxford: oxford University Press Bergson, H. (1910) Time and Free-Will: an essay on the immediate date of experience London: Allen & Unwin Clarke, R. (2003) Libertarian Accounts of Free-Will Oxford: Oxford University Press Cohen, J. (2010 Rousseau: a free community of equals Oxford: oxford University Press Dennett, D. (1984) Elbow Room: the varieties of free-will worth wanting Oxford: Oxford University Press Kane, R. (1998) The Significance of Free-Will Oxford: Oxford University Press O’Connor, T. (2012) Persons and causes: the metaphysics of free-will Oxford: oxford University Press Steel, J. (2012) Journalism and Free Speech London: Routledge

Week 4 Ethics

Student presentation – on different kinds of can and can’t.

Film stimulus: 1984

Possible alternatives: Thelma and Louise, and then any of A Man For All Seasons, All the President’s Men, Bowling for Columbine, Crimes and Misdemeanours, Dances with Wolves, Do the Right Thing, Extreme Measures, Ghandi, The Godfather, Lord of the Flies, Run Lola Run, Thank You For Smoking, The Thin Red Line.

Library sources: Attfield, R. (2003) Environmental Ethics Oxford: Polity Press Broadie, S. (1999) Ethics with Aristotle Oxford: Oxford University Press Davis, M. (1999) Ethics and the University London: Routledge Grace, D. (2010) Business Ethics, 4th. edtn. Oxford: Oxford University Press Jordan, M. D. (2002) The Ethics of Sex Oxford: Blackwell Kirkpatrick, F. (2001) The Ethics of Community Oxford: Blackwell Parsons, S. F. (2001) The Ethics of Gender Oxford: Blackwell MacIntyre, A. (2006) Ethics and Politics Cambridge: Cambridge University Press Singer, P. (1993) Practical Ethics, 2nd. edtn. Cambridge: Cambridge University Press Stote, M. (2011) The Impossibility of Perfection: Aristotle, feminism, and the complexities of ethics Oxford: Oxford University Press Sumner, L. (2011) Assisted Death: a study of ethics and law Oxford: Oxford University Press Weber, M. (2001) The Protestant Ethics and the Spirit of Capitalism London: Routledge

Week 5 The Problem of Evil

Student presentation – on regretting a birth and wanting a death

Film stimulus: Brighton Rock

Possible alternatives: Lord of the Flies, and then any of Alien Resurrection, Amazing Grace, The Damned, The Killing Fields, Prometheus, Schindler’s List, Serpico, Shadow Lands, The Seventh Seal, The Tree of Life.

Library sources: Bernstein, R. (2002) Radical Evil: a philosophical investigation Oxford: Polity Press Card, C. (2002) The Atrocity Paradigm: a theory of evil Oxford: Oxford University Press Davies, B. (2011) Thomas Aquinas on God and Evil Oxford: Oxford University Press Freeland, C. (2000) The Naked and the Undead: evil and the appeal of horror Oxford: Westview Press Hick, J. (2007) Evil and the God of Love Basingstoke: Palgrave Macmillan Larson, B. (1999) Extreme Evil: kids killing kids Nashville, T.: Nelson McGinn, C. (1999) Ethics, Evil, and Fiction Oxford: Oxford University Press Meister, R. (2011) After Evil: a politics of human rights New York: Columbia University Press Rorty, A. (2001) The Many Faces of Evil: historical perspectives New York: Routledge Swinburne, R. (1998) Providence and the Problem of Evil Oxford: Clarendon Press Tallon, P. (2012) The Poetics of Evil: towards an aesthetic theodicy Oxford: Oxford University Press

Week 6 Relativism

Student presentation – on being damned rather than fated Film stimulus: Rashomon

Possible alternatives: Citizen Kane, and then any of Paths of Glory, Babel, Courage Under Fire, Hilary & Jackie, He Said She Said, M, Vantage Point.

Library sources: Boghossian, P. (2005) Fear of Knowledge: against relativism and constructivism Oxford: Clarendon Press Cappelen, H. (2009) Relativism and Monadic Truth Oxford: Oxford University Press Goodman, N. (1978) Ways of Worldmaking Hassocks: Harvester Press Harman, G. (1996) Moral Relativism and Moral Objectivity Oxford: Blackwell Kolbel, M. & Garcia-Capentiro, M. (2008) Relative Truth Oxford: Oxford University Press Lee, M. (2005) Epistemology after Protagoras: responses to relativism in Plato, Aristotle, and Democritus Oxford: Clarendon Lukes, S. (2008) Moral Relativism London: Profile Moore, A. (2000) Point of View Oxford: Clarendon Nagel, T. (2007 The Last Word Oxford: Oxford University Press O’Grady, P. (2001) Relativism Teddington: Acumen Recenati, F. (2007) Perspectival Thought: a plea for moderate relativism Oxford: Clarendon Rorty, R. (1991) Objectivity, Relativism, and Truth Cambridge: Cambridge University Press Unger, P. (2002) Philosophical Relativities Oxford: oxford University Press Wong, D. (2006) Natural Moralities: a defence of pluralistic relativism Oxford: Oxford University Press

Week 7 Scepticism

Student presentation – all’s for the best in the best of all possible worlds.

Film stimulus: The Truman Show

Possible alternatives: The Matrix, and then any of 8 1/2, L’Aventura, Blow-Up, Dark City, eXistenZ, Inception, The Island, Nazarin, Strange days, The Thirteenth Floor, Viridiana, Wild Strawberries.

Library sources: Barnes, J. & Annas, J. (2000) Sextus Empiricus: outlines of scepticism Cambridge: Cambridge University Press Breuchner, A. (2010) Essays on Scepticism Oxford: Oxford University Press Currie, G. (2010) Narratives and Narrators Oxford: Oxford University Press Frances, B. (2005) Scepticism Comes Alive Oxford: Clarendon Gascoigne, N. (2002) Scepticism Chesham: Acumen Neale, S. (2001) Facing Facts Oxford: Clarendon Norton, D. (1993) The Cambridge Companion to Hume Oxford: Oxford University Press Parker, F. (2003) Scepticism and Literature: an essay on Pope, Hume, Sterne, and Johnson Oxford: Oxford University Press Perin, C. (2010) The Demands of Reason: an essay on Pyrrhonian scepticism Oxford: Oxford University Press Pritchard, D. (2005) Epistemic Luck Oxford: Clarendon Russell, B. (2004) Sceptical Essays London: Routledge Tomkins, A. & Ewing, K. D. (2001) Sceptical Essays on Human Rights Oxford: Oxford University Press Williamson, T. (2002) Knowledge and its Limits Oxford: Oxford University Press

Week 8 Artificial Intelligence

Student presentation – Is the Turing test good enough?

Film stimulus: 2001: A Space Odyssey

Possible alternatives: Forbidden Planet and then any of, A. I. Artificial Intelligence, A for Andromeda, Alphaville, Bicentennial Man, Colossus: the Forbin Project, D.A.R.Y.L., Demon Seed, I Robot, Lawnmower Man, Metropolis, Prometheus, Short Circuit, Tron, and Tron Legacy, West World.

Library sources: Bach, J. (2009) Principles of Synthetic Intelligence: PSI: an architecture of motivated cognition Oxford: Oxford University Press Boden, M. (1996) The Philosophy of Artificial Life Oxford: Oxford University Press Clark, A. (2003) Natural-Born Cyborgs: minds, technologies, and the future of human intelligence Oxford: Oxford University Press DeLancey, C. (2002) Passionate Engines: what emotions reveal about the mind and artificial intelligence Oxford: Oxford University Press Dyson, G. (1998) Darwin among the Machines London: Allen Lane Franklin, S. (1995) Artificial Minds Cambridge Mass.: MIT Press Geraci, R. (2010) Apocalyptic AI: visions of Heaven in robots, artificial intelligence, and virtual reality Oxford: Oxford University Press Kelly, K. (1995) Out of Control: the New biology of machines London: Fourth Estate Kember, S. (2003) Cyberfeminism and Artificial Life London: Routledge Kurzweil, R. (1999) The Age of Spiritual Machines: how we live, work, and think in the new age of intelligent machines London: Phoenix Moravec, H. (1988) Mind Children: the future of robot and human intelligence Cambridge, Mass.: Harvard University Press Penrose, R. (1989) The Emperor’s new Mind: concerning computers, minds, and the laws of physics Oxford: Oxford University Press Puddefoot, J. (1996) God and the Mind Machine: computers, artificial intelligence, and the human soul London: SPCK Torrance, S. (1984) The Mind and the Machine: philosophical aspects of artificial intelligence Chichester: Ellis Horwood

Week 9 and beyond – a series of seminars built around the following sources and focussed on your second assignment. As already indicated, a number of writers have likened the film screen to a mind’s eye. You might find these sites of interest: http://philosophybites.com/2008/02/stephen-mulhall.html http://filmandphilosophy.com/ https://www.mtholyoke.edu/acad/facultyprofiles/thomas_wartenberg http://onlinelibrary.wiley.com/doi/10.1111/j.1540- 6245.2009.01372_9.x/abstract http://www.scribd.com/doc/80483726/Thinking-on-Screen-Film-as-Philosophy http://www.deepdyve.com/lp/berghahn-books/comments-on-thomas- wartenberg-s-thinking-on-screen-film-as-philosophy-wwEgnA1K8X http://www.scope.nottingham.ac.uk/bookreview.php?id=997&issue=10 http://www.film-philosophy.com/2007v11n3/barnett.pdf http://www.sewanee.edu/philosophy/Capstone/2009/nelson.pdf http://www.revalvaatio.org/wp/wp-content/uploads/mulhall-film-as- philosophy.pdf https://jyx.jyu.fi/dspace/handle/123456789/24833 http://www.film-philosophy.com/vol7-2003/n25mulhall http://www.jstor.org/stable/3700488 http://www.jstor.org/stable/10.2307/25622102 http://www.british-aesthetics.org/uploads/David_Davies_- _Can_Film_be_a_Philosophical_Medium.pdf http://ndpr.nd.edu/news/24361-cinema-philosophy-bergman-on-film-as- philosophy/ http://www.inessentials.com/2011/04/25/film-as-philosophy-can-philosophy-be- screened/ http://arnar.icelandcinemanow.com/2010/05/22/films-that-do-philosophy-the- invention-of-lying/ Many writers have chosen to feature montage as one of the central, if not the principal, filmic procedure. Eisenstein was an early proponent. Although other theorists had begun to notice the potential of the film form as a means of communication, few, if any, had been prepared to use it as the main source of illustration for an all-encompassing theorisation of creativity in all media; this remains Eisenstein’s claim to fame. His explanation of montage as such a principle allows him to unite his own art-works with Revolutionary principles and a universal humanist aesthetics. He therefore serves as a focus for one alternative for your second assignment. The contemporary theorist, John Roberts, in his book, The Art of Interruption, offers a similarly comprehensive analysis of montage as an artistic technique and as a political and ethical means to re-structure and contest hegemonic understandings and perspectives. As such (and as Eisenstein himself regarded it) this makes of montage a supremely educational method that may be regarded as being on a par with Socratic dialectic.

Strike http://www.youtube.com/watch?v=TsUzglygW_s http://www.youtube.com/watch?v=i7msO9LPClY http://www.youtube.com/watch?v=jWiDciPuSW4 http://www.youtube.com/watch?v=MzXFSBlQOe4 http://www.youtube.com/watch?v=vBdxi7-_HKw http://www.youtube.com/watch?v=asJiyN90VE4 http://www.youtube.com/watch?v=fJR9dRgJe3k http://www.youtube.com/watch?v=7WL2Zyin0tI http://www.youtube.com/watch?v=uLiNKaUp0AA The Battleship Potemkin http://www.youtube.com/watch?v=7TgWoSHUn8c October http://www.youtube.com/watch?v=k62eaN9-TLY Aleksandre Nevski http://www.imdb.com/title/tt0029850/ http://www.youtube.com/watch?v=mr3S6ItLMTo Here are some sites and texts related to this idea: http://isites.harvard.edu/fs/docs/icb.topic975209.files/EisensteinVerticalNew.pd f http://web.grinnell.edu/courses/spn/s02/spn395-01/raf/raf02/raf0203.pdf

Viewing: Ballet Mechanique, http://www.youtube.com/watch?v=H_bboH9p1Ys http://www.youtube.com/watch?v=9SgsqmQJAq0 (and also Fritz Lang’s Metropolis) http://www.youtube.com/watch?v=-ouQwGPw_S4 http://www.youtube.com/watch?v=B4rI__TRvcY http://www.imdb.com/title/tt0017136/ Citizen Kane, http://www.youtube.com/watch?v=tzhb3U2cONs http://www.youtube.com/watch?v=RamGMa9Sb1U and Two or Three Things I Know About Her; http://www.youtube.com/watch?v=e4LWwhFJoUw http://www.youtube.com/watch?v=GZSEMCDzO7w but also various collage and montage examples – from Picasso to Raoul Haussmann and beyond! e-sources: http://en.wikipedia.org/wiki/Montage_(filmmaking) http://tvtropes.org/pmwiki/pmwiki.php/Main/Montages http://en.wikipedia.org/wiki/Montage http://en.wikipedia.org/wiki/Photomontage http://www.collageart.org/photomontage/ http://www.d-log.info/timeline/index.html http://homepage.ntlworld.com/davepalmer/cutandpaste/intro.html http://www.hockneypictures.com/works_photos.php http://www.youtube.com/watch?v=_mxyjo1zK4g http://www.yellowbellywebdesign.com/hoch/gallery.html http://www.austinkleon.com/2007/12/09/the-drawings-of-george-grosz/ http://www.youtube.com/watch?v=F3X-KDoDhPs http://www.youtube.com/watch?v=MzXFSBlQOe4 http://www.youtube.com/watch?v=Ps-v-kZzfec http://en.wikipedia.org/wiki/Soviet_montage_theory http://www.helsinki.fi/venaja/e-materiaali/mosaiikki/en3/th3_en.pdf http://faculty.cua.edu/johnsong/hitchcock/pages/montage/montage-1.html http://ewaneumann.com/websites/eisenstein/theory_of_montage.html http://www.youtube.com/channel/HCi_hC5XJ_va8 http://www.maikito.com/montage.html http://www.main-vision.com/richard/montage.shtml http://www.tumblr.com/tagged/soviet%20montage%20theory http://faculty.cua.edu/johnsong/hitchcock/pages/kuleshov.html http://www.youtube.com/watch?v=zUZCPPGeJ1c http://cla.calpoly.edu/~dgillett/ENGL_411/pdf/DP_Chapter_2_selection_I.pdf http://cosmopista.files.wordpress.com/2008/10/eisenstein_montage-and-architecture.pdf

Library sources: Aumont, J. (1987) Montage: Eisenstein London: BFI Barthes, R. ? Boswell, P. & Markela, M., The Photomontages of Hannah Hoch, Walker Art Centre, Minneapolis, 1996. Buck-Morss, S., The Dialectics of Seeing: Walter Benjamin and the Arcades Project, MIT Press, Cam. Mass., 1991. Eco, U., The Open Work, trans. Cancogni, A., Harvard University Press, Cam. Mass., 1989. Eisenstein, S. (1963) The Film Sense London: faber & faber Eizenshtein, S. (1991) Selected Works, Vol. 2., Towards a Theory of Montage London: BFI Evans, D. & Gohl, S., 1986, Photomontage: a political weapon, Gordon Fraser, London. Lewis, B,, George Grosz: Art and Politics in the Weimar Republic, University of Wisconsin Press, Madison, 1971. Mitchelson, A., Kino-Eye: The Writings of Dziga Vertov, trans. O’Brian, K., Pluto Press, London, 1984. Poggi, C., In Defiance of Painting: Cubism, Futurism, and the Invention of Collage, Yale University Press, New Haven, 1992. Robertson, R. (2009) Eisenstein on the Audiovisual: the montage of music, image, and sound in cinema London: I B Tauris Rohdie, S. (2006) Montage Manchester: Manchester University Press Teitelbaum, M., Montage and Modern Life, 1919 - 1942, MIT Press, Cam., Mass., with the Institute of Contemporary Arts, Boston, 1992. Tupitsyn, M., The Soviet Photograph, 1924 - 1937, Yale University Press, New Haven, 1996.

To be discussed nearer the time, but films to consider at this point could be Adaptation alongside Tout Va Bien and or Synecdoche. The Alien Quartet could be reviewed in relation to Mulhall, S. (2002) On Film London: Routledge. We could also think about film in relation to existentialism, e.g. American Beauty, About Schmidt, Barton Fink, Broken Flowers, Fight Club, Five Easy Pieces, Ikiru, The Ice Storm, La Dolce Vita, Leaving Las Vegas, Lost in Translation, Paths of Glory, Sex, Lies, and Videotape, The Pianist, Tree of Life.