Introduction II: Summary



Because ofthe book’s complexity, range, and ambition, setting out as it does to establish cinema as a new medium for philosophy, Shamir begins with a much-needed overview of its main arguments, including upending the exploration of film and philosophy; showing how cinematic thought experiments offer much more than traditional thought experiments; establishing that the philosophy within a given film is not dependent on traditional philosophy; demonstrating the unprecedented potential of the cinematic platform for making us see and experience philosophy; revealing and debunking a dogma that the written text is the only proper platform for creating philosophy; redefining the boundaries between cinema and philosophy; and examining how cinema can ground philosophy in a contemporary context.


Thought Experiment Traditional Philosophy Philosophical Idea Philosophical Text Philosophical Notion 
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Books and Articles

  1. Bernstein, M. J. (1992). The fate of art. University Park, PA: The Pennsylvania State University Press.Google Scholar
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Films & Artworks

  1. Antonioni, M. (1966). Blow up. [Motion Picture].Google Scholar
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  5. Marclay, C. (2011). The Clock. [Video Installation].Google Scholar
  6. Parker, A. (2003). The life of David Gale. [Motion Picture].Google Scholar
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  10. Scott, R. [1982] (2007). Blade runner (Originally released on 1982, the film has a few different versions that came out in later years with additions that significantly affect the film, I will refer to what is know as ‘The Finial Cut’ released in 2007 by Warner Brothers.). [Motion Picture].Google Scholar
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  12. Shamir, S.T. (2011). The Vermeers. [Motion Picture].Google Scholar
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  16. The Wachowskis. (1999). The Matrix. [Motion Picture].Google Scholar
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Copyright information

© The Author(s) 2016

Authors and Affiliations

  1. 1.New YorkUSA

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