Shamir investigates what the cinematic platform can offer the discipline of philosophy that other platforms (i.e. the written and oral platforms) cannot. His groundbreaking investigation leads to the conclusion that cinema’s potential for creating philosophy lies in its ability to manifest the experience, rather than the reflection, of philosophical wisdom (the reflection being what emerges from written and oral media). The potential to see and experience philosophy is an unprecedented possibility for the discipline of philosophy, leading Shamir to deepen his research into the unique experiences that can be evoked through the cinematic medium. This endeavor reveals how cinema can push us towards new concepts, perceptions, and thoughts of the world.


Thought Experiment Traditional Philosophy Philosophical Theory Emotional Engagement Philosophical Idea 
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Books and Articles

  1. Adorno, T., & Horkheimer, M. (1944/2006). The culture industry: Enlightenment as mass deception. In D. G. Meenakshi & K. M. Douglas (Eds.), Media and cultural studies: Key works (Rev. ed., pp. 42–72). Oxford: Blackwell.Google Scholar
  2. Artaud, A. (1972). Collective works: Volume three (trans: Hamilton, A.). London: Calder and Boyars.Google Scholar
  3. Bernstein, M. J. (2012). Movies as the Great Democratic Art Form of the Modern Work (Notes on Ranciére). In J.-P. Deranty & A. Ross (Eds.), Jacques Ranciere and the contemporary scene: The philosophy of radical equality (pp. 15–42). New York: Continuum publishing.Google Scholar
  4. Canudo, R. (1923/1988). Reflections of the seventh art. In R. Able (Ed.), French film theory and criticism: A history/anthology, 1907–1939, Volume I (pp. 19071929). Princeton, NJ: Princeton University Press.Google Scholar
  5. Cavell, S. (2005a). Cavell on film (editor & contributor William Rothman). Albany, NY: State University of New York.Google Scholar
  6. Deleuze, G. (1983/1986). Cinema 1: The movement-image (trans: Tomlinson, H. & Habberjam, B.). Minneapolis: University of Minnesota Press.Google Scholar
  7. Deleuze, G. (1985/1989). Cinema 2: The time-image (trans: Tomlinson, H. & Galeta, R.). London: The Athlone Press.Google Scholar
  8. Deleuze, Gilles & Guattari Felix. (1994). What is Philosophy. (Translated by Hugh Tomlison & Graham Burchell). New York, NY: Columbia University Press.Google Scholar
  9. Deleuze, G. (2000). The brain is the screen. In G. Flaxman (Ed.), Brain is the screen: Deleuze and the philosophy of cinema (pp. 365–373). Minneapolis, MN: University of Minnesota Press.Google Scholar
  10. Field, S. (2005). Screenplay: The Foundations of screenwriting. New York: Delta Publishing.Google Scholar
  11. Frampton, D. (2006). Filmosophy. London, UK: Wallflower Press.Google Scholar
  12. Mckee, R. (1997). Story: Substance, style and the principles of screenwriting. New York: HarperCollins Publishers.Google Scholar
  13. Snyder, B. (2005). Save the cat! The last book on screenwriting you’ll ever need. Studio City, CA: Michael Wiese Publishing.Google Scholar
  14. Wartenberg, E. T. (2005). Philosophy screened: Experiencing The Matrix. In E. T. Wartenberg & A. Curran (Eds.), The philosophy of film: Introductory text and readings (pp. 270–283). Malden, MA: Blackwell Publishing.Google Scholar
  15. Wartenberg, E. T. (2007). Thinking on screen: Film as philosophy. New York: Routledge.Google Scholar

Films & Artworks

  1. Bertolucci, B. (1970). The conformist. [Motion Picture].Google Scholar
  2. Fincher, D. (1995). Seven. [Motion Picture].Google Scholar
  3. Hitchcock, A. (1929). Blackmail. [Motion Picture].Google Scholar
  4. Huddles, J. (2013) After the dark (The film is also known as The Philosophers). [Motion Picture].Google Scholar
  5. Kubrick, S. (1971). A clockwork orange . [Motion Picture].Google Scholar
  6. Lucas, G. (1977). Star wars. [Motion Picture].Google Scholar
  7. The Lumiere Brothers. (1895). The arrival of a train at the La Ciotat Station. [Motion Picture].Google Scholar
  8. Marker, C. (1962). La Jetee . [Motion Picture].Google Scholar
  9. Ramis, H. (1993). Groundhog day. [Motion Picture].Google Scholar
  10. Ramsey, M. (2008). The cave: An adaptation of Platos allegory in Clay. [Motion Picture]. Retrieved from:
  11. Verhoeven, P. (1992). Basic instinct. [Motion Picture].Google Scholar
  12. Verhoeven, P. (1997). Starship troopers. [Motion Picture].Google Scholar
  13. The Wachowskis. (1999). The Matrix. [Motion Picture].Google Scholar
  14. The Wachowskis. (2003a). The Matrix reloaded. [Motion Picture].Google Scholar
  15. The Wachowskis. (2003b). The Matrix revolutions. [Motion Picture].Google Scholar

Copyright information

© The Author(s) 2016

Authors and Affiliations

  1. 1.New YorkUSA

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