Abstract
It is difficult to underestimate the importance of film in contemporary society. Almost everybody likes to watch and discuss movies, and many people invest a good deal of time reading about them and following the careers of various film industry personalities. Of course, there is no one reason why people are drawn to cinema. There are as many motivations as there are types of films, but the fact that they serve as a form of entertainment is probably the most common. For a couple of hours, a movie transports us someplace else; we are completely caught up in the people and events depicted on the screen. Movies can take us on a thrill ride or involve us emotionally with the characters, and in these cases they serve as spectacle and amusement. Cinema can affect us for quite different reasons than these, however. Some films can make us think critically or appreciatively about our life or the world we live in. They can reach us at a deep level, perhaps even changing us in some small but fundamental way, because they show us something true and important about life. They might empower us, encouraging us to be the kind of person we have always wanted to be. Maybe a movie depicts a character that we recognize as our selves, in part, but living the life that we would have had we had more affirmation of our ambitions. Or it might show us the tragic limitations of human nature, as when a film depicts the failure of a character to overcome a spiritual crisis, and it then serves as a warning of a fate that might well be ours unless we make some changes.
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Notes
Jean-Paul Sartre, ‘The Humanism of Existentialism’, Essays in Existentialism (New Jersey: Citadel Press, 1965), p. 32.
Friedrich Nietzsche, The Gay Science, trans. Walter Kaufmann (New York: Vintage Books, 1974), p. 232.
Srøren Kierkegaard, A Kierkegaard Anthology, ed. Robert Bretall (Princeton, NJ: Princeton University Press, 1972), p. 201.
Henri F. Ellenberger, The Discovery of the Unconscious (New York: Basic Books, 1970), p. 273.
See section 38 in Twilight of the Idols. Friedrich Nietzsche, The Portable Nietzsche, ed. and trans. Walter Kaufmann (New York: Basic Books, 1970), pp. 541–543.
Martin Heidegger, Being and Time, trans. John Macquarrie and Edward Robinson (San Francisco: Harper and Row, 1962), p. 160.
Jean-Paul Sartre, Being and Nothingness, trans. Hazel E. Barnes (New York: Washington Sauare Press. 1956). p. 24.
Simone de Beauvoir, The Ethics of Ambiguity, trans. Bernard Frechtman (New Jersey: Citadel Press, 1949). p. 11.
For a version of Sartre’s more mature, qualified position on freedom see Jean-Paul Sartre, Critique of Dialectical Reason, Vol. 1, trans. Alan Sheridan-Smith, ed. Jonathan Rée (London and New York: Verso, 1985).
Tillich, ‘The Lost Dimension in Religion’, The Essential Tillich, ed. F. Forrester Church (Chicago: The University of Chicago Press, 1987), p. 1.
Paul Tillich, The Courage to Be (New Haven, CT: Yale University Press, 2000), p. 108.
Paul Tillich, Systematic Theology, Vol. 1 (Chicago: The University of Chicago Press, 1951), p. 134.
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© 2009 William C. Pamerleau
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Pamerleau, W.C. (2009). Introduction. In: Existentialist Cinema. Palgrave Macmillan, London. https://doi.org/10.1057/9780230235465_1
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DOI: https://doi.org/10.1057/9780230235465_1
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