Film-Philosophy
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Laura Dern's Vomit, or, Kant and Derrida in Oz
No full textThis article explores the role of disgust in Kant's aesthetic philosophy, Derrida's deconstruction of Kant's third Critique in his article 'Economimesis,' and the figure of vomit in two films by David Lynch in order to argue for the ethical possibilities of not giving ground relative to one's disgust - what I term an ethics of the worse than the worst
Dean A. Kowalski, ed. (2008) Steven Spielberg and Philosophy: ‘We’re Going to Need a Bigger Book’
No full textThe Shared Destiny of the Radically Other: A Reading of The Wizard of Oz
No full textThis paper explores the classic MGM film The Wizard of Oz from a perspective influenced by Baudrillard’s writings. The paper begins by locating its argument within Baudrillard’s influential notion of the orders of simulacra, noting the neglected distinction between the imaginary and simulation (or hyperreality). It then moves into less familiar territory, exploring some of the least known aspects of Baudrillard’s thought: symbolic exchange, destiny and radical otherness. These notions, we argue, not only suggest an alternative reading of the film, they also suggest an alternative perspective on Baudrillard’s thought. Against standard views of Baudrillard’s work as relativist, postmodernist and anti-feminist (Kellner 1989), the paper draws out a very different Baudrillard, one concerned with illusion, imagination and, perhaps, a singular form of ethicality. Our reading of the film, through Baudrillard’s idiosyncratic writing on seduction, ritual and initiation, suggests an understanding of ‘ethicality’ as relational, radically contingent and subject to the play of destiny
Eugene W. Holland, Daniel W. Smith and Charles J. Stivale, eds. (2009) Gilles Deleuze: Image and Text
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Terminal Indifference: The Hollywood War Film Post-September 11
No full textSpeaking about the state of the Hollywood film industry at the 2008 Academy Awards, the Oscars’ host – comedian Jon Stewart – made the following wry assessment: ‘Not all films did as well as Juno obviously. The films that were made about the Iraq War, let’s face it, did not do as well. But I’m telling you, if we stay the course and keep these movies in the theatres we can turn this around. I don’t care if it takes 100 years. Withdrawing the Iraq movies would only embolden the audience. We cannot let the audience win.’ The films he is referring to include Home of the Brave (2006), In the Valley of Elah (2007) and Stop-Loss (2008) – all of which focus on the personal cost to American soldiers on their return to civilian life, as well as exposing the failure of the US invasion of Iraq at home and abroad. Despite their topical subject matter, these movies were, for the most part, commercial failures. This article seeks to investigate audience indifference (Jean Baudrillard claims a certain indifference is a fundamental consequence of the Western globalising ideology) to mainstream cinematic depictions of the post September 11 invasion of Iraq, via a consideration of the trauma and abjection depicted in these films. Baudrillard’s hypotheses on terrorism – as a symbolic challenge put forth by terrorism (embodied by the attack on the Twin Towers) – and the West’s incapacity to respond to it, forms the basis for our investigation of the limits of these films to incite and engage viewers. His writings offer a lens through which to consider how ‘terrorism’ operates symbolically, and fundamentally, the dilemmas this raises for a Western psyche grappling with how the ‘terrorist threat’ might be answered, engaged with, responded to
