Bøger i The Philosophy of Popular Culture serien

Legendary director, actor, author, and provocateur Werner Herzog has incalculably influenced contemporary cinema for decades. This essay collection by professional philosophers and film theorists from around the globe offers a diversity of perspectives on how the thinking behind the camera is revealed in the action Herzog captures in front of it.

In this book, Dean Kowalski argues that filmmakers can "do" philosophy when creating a fictional narrative film, and utilizes a careful and extensive analysis of Joss Whedon's fictive creations-Buffy the Vampire Slayer, Angel, Firefly, Dollhouse, and The Cabin in the Woods (among others)-to establish this thesis.

The Philosophy of Christopher Nolan collects sixteen essays written by philosophers and film theorists analyzing moral, metaphysical, epistemological, and political themes that characterize the films of Christopher Nolan.

Here is the story of the long interaction between humans, land, and climate in the American South. Originally published in 1983 and needed now more than ever, This Land, This South was the first book to explore the cumulative impact of humans on the southern landscape and its effect on them.

In Basketball and Philosophy, a Dream Team of twenty-six basketball fans, most of whom also happen to be philosophers, proves that basketball is the thinking person's sport.

In 2008 No Country for Old Men won the Academy Award for Best Picture, adding to the reputation of filmmakers Joel and Ethan Coen, who were already known for pushing the boundaries of genre. They had already made films that redefined the gangster movie, the screwball comedy, the fable, and the film noir, among others. No Country is just one of many Coen brothers films to center on the struggles of complex characters to understand themselves and their places in the strange worlds they inhabit. To borrow a phrase from Barton Fink, all Coen films explore "e;the life of the mind"e; and show that the human condition can often be simultaneously comic and tragic, profound and absurd. In The Philosophy of the Coen Brothers, editor Mark T. Conard and other noted scholars explore the challenging moral and philosophical terrain of the Coen repertoire. Several authors connect the Coens' most widely known plots and characters to the shadowy, violent, and morally ambiguous world of classic film noir and its modern counterpart, neo-noir. As these essays reveal, Coen films often share noir's essential philosophical assumptions: power corrupts, evil is real, and human control of fate is an illusion. In Fargo, not even Minnesota's blankets of snow can hide Jerry Lundegaard's crimes or brighten his long, dark night of the soul. Coen films that stylistically depart from film noir still bear the influence of the genre's prevailing philosophical systems. The tale of love, marriage, betrayal, and divorce in Intolerable Cruelty transcends the plight of the characters to illuminate competing theories of justice. Even in lighter fare, such as Raising Arizona and The Big Lebowski, the comedy emerges from characters' journeys to the brink of an amoral abyss. However, the Coens often knowingly and gleefully subvert conventions and occasionally offer symbolic rebirths and other hopeful outcomes. At the end of The Big Lebowski, the Dude abides, his laziness has become a virtue, and the human comedy is perpetuating itself with the promised arrival of a newborn Lebowski. The Philosophy of the Coen Brothers sheds new light on these cinematic visionaries and their films' stirring philosophical insights. From Blood Simple to No Country for Old Men, the Coens' films feature characters who hunger for meaning in shared human experience -- they are looking for answers. A select few of their protagonists find affirmation and redemption, but for many others, the quest for answers leads, at best, only to more questions.

The science fiction genre maintains a remarkable hold on the imagination and enthusiasm of the filmgoing public, captivating large audiences worldwide and garnering ever-larger profits. Science fiction films entertain the possibility of time travel and extraterrestrial visitation and imaginatively transport us to worlds transformed by modern science and technology. They also provide a medium through which questions about personal identity, moral agency, artificial consciousness, and other categories of experience can be addressed. In The Philosophy of Science Fiction Film, distinguished authors explore the storylines, conflicts, and themes of fifteen science fiction film classics, from Metropolis to The Matrix. Editor Steven M. Sanders and a group of outstanding scholars in philosophy, film studies, and other fields raise science fiction film criticism to a new level by penetrating the surface of the films to expose the underlying philosophical arguments, ethical perspectives, and metaphysical views. Sanders's introduction presents an overview and evaluation of each essay and poses questions for readers to consider as they think about the films under discussion.The first section, "e;Enigmas of Identity and Agency,"e; deals with the nature of humanity as it is portrayed in Blade Runner, Dark City, Frankenstein, Invasion of the Body Snatchers, and Total Recall. In the second section, "e;Extraterrestrial Visitation, Time Travel, and Artificial Intelligence,"e; contributors discuss 2001: A Space Odyssey, The Terminator, 12 Monkeys, and The Day the Earth Stood Still and analyze the challenges of artificial intelligence, the paradoxes of time travel, and the ethics of war. The final section, "e;Brave Newer World: Science Fiction Futurism,"e; looks at visions of the future in Metropolis, The Matrix, Alphaville, and screen adaptations of George Orwell's 1984.

In The Philosophy of The X-Files, Dean A. Kowalski has gathered a remarkable cast of contributors to shed light on the philosophical mysteries of the television show The X-Files. With sections devoted to the show's credos, such as "e;The Truth Is Out There,"e; individual characters, and specific episodes, The Philosophy of The X-Files illuminates the philosophical assumptions and presuppositions of the show as well as presents discussions through the show to help the reader better understand philosophy and philosophical inquiry.

Arguably the most famous and recognized detective in history, Sherlock Holmes is considered by many to be the first pop icon of the modern age.

Without question, few directors have had such a powerful influence on the film industry and the moviegoing public as Steven Spielberg.

The Philosophy of War Films is a timely and engaging read for any philosopher, filmmaker, reader, or viewer who desires a deeper understanding of war and its representation in popular culture.

Neil Young and Philosophy examines the music, career, and life of Neil Young from a variety of philosophical perspectives in ethics, socio-political thought, and aesthetics. It will be of great interest both to Neil Young fans and to scholars and teachers of philosophy and culture.

From the Academy Award--winning Eternal Sunshine of the Spotless Mind (2004) and Academy Award--nominated Adaptation (2002) to the cult classic Being John Malkovich (1999), writer Charlie Kaufman is widely admired for his innovative, philosophically re

Perhaps nowhere in the broad expanse of types of film is the old "quarrel between philosophy and poetry" more evident-and also more vitally relevant-than in the genre or mode of film known as documentary. Documentary film is just another form of poetic imitation, in its variety of instances and complexity of fabrication, it is just as much caught up with the limitations-and effects-of mimetic art, including fiction film. This book affords a prismatic perspective on documentary cinema, inviting the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences together into a shared conversation.

Presents essays by prominent scholars that examine the impact of representing war in film and the influence that cinematic images of battle have on human consciousness, belief, and action. The contributors explore a variety of topics, including the aesthetics of war, the effect war has on personal identity, and ethical problems presented by war.

From the perfect mint julep to benedictine, from a classic hot brown to cheese chutney, Kentucky's Best captures the full range of the state's culinary delights.

It is said the champions of the ancient Olympic Games received a crown of olive leaves, symbolizing a divine blessing from Nike, the winged goddess of victory.

Many native North American cultures have origins that predate Confucius, who lived five hundred years before the birth of Christ. For generations the people of these traditions have thrived under conditions that many view as harsh if not hostile. Through

Without question, few directors have had such a powerful influence on the film industry and the moviegoing public as Steven Spielberg.

In The Philosophy of Martin Scorsese, an impressive cast of contributors explores the complex themes and philosophical underpinnings of Martin Scorsese's films.

The spirit that founded the volume and guided its development is radically inter- and transdisciplinary. Dispatches have arrived from anthropology, communications, English, film studies (including theory, history, criticism), literary studies (including theory, history, criticism), media and screen studies, cognitive cultural studies, narratology, philosophy, poetics, politics, and political theory; and as a special aspect of the volume, theorist-filmmakers make their thoughts known as well. Consequently, the critical reflections gathered here are decidedly pluralistic and heterogeneous, invitingΓÇönot bracketing or partitioningΓÇöthe dynamism and diversity of the arts, humanities, social sciences, and even natural sciences (in so far as we are biological beings who are trying to track our cognitive and perceptual understanding of a nonbiological thingΓÇönamely, film, whether celluloid-based or in digital form); these disciplines, so habitually cordoned off from one another, are brought together into a shared conversation about a common object and domain of investigation.This book will be of interest to theorists and practitioners of nonfiction film; to emerging and established scholars contributing to the secondary literature; and to those who are intrigued by the kinds of questions and claims that seem native to nonfiction film, and who may wish to explore some critical responses to them written in engaging language.

The Who was one of the most influential of the 1960s British Invasion bands-not just because of their loud and occasionally destructive stage presence-but also because of its smart songs and albums such as "My Generation," Who's Next, Tommy, and Quadrophenia, in which they explored themes such as frustration, angst, irony, and a youthful inclination to lash out. This collection explores the remarkable depth and breadth of the Who's music through a philosophical lens.

In The Philosophy of J.J. Abrams, editors Patricia L. Brace and Robert Arp assemble the first collection of essays to highlight the philosophical insights of the Hollywood giant's successful career.

Known for restoring vitality and superior craftsmanship to the crime thriller, American filmmaker Michael Mann has long been regarded as a talented triple threat capable of moving effortlessly between television and feature films as a writer, director, and executive producer.

The Philosophy of Tim Burton offers a penetrating and provocative look at one of Hollywood's most influential auteurs.

The Philosophy of Clint Eastwood examines the philosophy and psychology behind this versatile and controversial figure, exploring his roles as actor, musician, and director.

Its pervasiveness suggests the vitality of the noir depiction of human experience and the importance of TV for transmitting the legacy of film noir and producing new forms of noir.

From a review of the flaws of the Bowl Championship Series, to a study of the violence inherent in the game, to an examination of Vince Lombardi's views on winning, the essays in this collection tackle the moral and philosophical principles behind gridiron competition.

The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism.

Essayist, social critic, poet, "mad farmer," novelist, teacher, and prophet: Wendell Berry has been called many things, but the broad sweep of his contemporary relevance and influence defies simple labels. With his unique perspective and far-reaching visi