Re-enfranchising Film: Towards a Romantic Film-Philosophy

Sinnerbrink, Robert

doi:10.1057/9780230294851_3

“…Within the emergent field of the philosophy of film there is debate as to whether a film can do more than merely illustrate philosophical ideas. Where philosophers such as Paisley Livingston (2006), Murray Smith (2006, and Thomas Wartenburg (2011) maintain that film can only illustrate concepts and rehearse ideas, philosophers such as Robert Sinnerbrink (2011), Tarja Laine (2011), Daniel Frampton (2006) and others have argued that film can not only provide a representation of philosophical ideas, but film can also contribute to philosophy in its own way. For film to be able to contribute to philosophy assumes that film can 'think'.…”

Section: Film-philosophymentioning

confidence: 99%

“…Robert Sinnerbrink (2011) has argued that little attention has been given to the question of "whether philosophy itself is transformed through its encounter with film" (p.28). Similarly, Vivian Sobchack (2011) recognizes the potential for mutual influence between film and philosophy.…”

Section: Romantic Film-philosophymentioning

confidence: 99%

“…Within the scope of positions on the relationship between film and philosophy, I argue, as Robert Sinnerbrink (2011) does, that film-philosophy "Like any marriage, it works best when film is acknowledged as equal yet different, rather than as unruly pupil or intellectual subordinate" (p.120). Sinnerbrink (2013; has described his approach as romantic film-philosophy.…”

Section: Romantic Film-philosophymentioning

confidence: 99%

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Funny feelings: taking love to the cinema with Woody Allen

Zurba¹

2021

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This dissertation utilizes the films of Woody Allen in order to position the cinema as a site where realizing and practicing an embodied experience of love is possible. This dissertation challenges pessimistic readings of Woody Allen’s film that render love difficult, if not impossible. By challenging assumptions about love, this dissertation opens a dialogue not only about the representation of love, but the understanding of love. Rather than a Platonic love of unity, this dissertation combines the phenomenological work of Luce Irigaray and Jean-Luc Marion to describe a love of letting be. A love of letting be focuses on the lived experience of love as a phenomenology. In a love of letting be it is the intent of both lovers to regard each other as an unknowable whole, whom they must support and whose mystery they must protect. The transformations of four characters from Allen’s cinema, Allan Felix of Play it Again, Sam, Alvy Singer of Annie Hall, Cecilia of The Purple Rose of Cairo, and Mickey Sachs of Hannah and her Sisters serve as illustrations of how coming to a love of letting be is possible. The four characters, the nervous romantics, come to understand a love of letting be through their experience in the cinema. Their experience in the cinema comes to enlighten their understanding and living of love as a love of letting be.

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“…Within the emergent field of the philosophy of film there is debate as to whether a film can do more than merely illustrate philosophical ideas. Where philosophers such as Paisley Livingston (2006), Murray Smith (2006, and Thomas Wartenburg (2011) maintain that film can only illustrate concepts and rehearse ideas, philosophers such as Robert Sinnerbrink (2011), Tarja Laine (2011), Daniel Frampton (2006) and others have argued that film can not only provide a representation of philosophical ideas, but film can also contribute to philosophy in its own way. For film to be able to contribute to philosophy assumes that film can 'think'.…”

Section: Film-philosophymentioning

confidence: 99%

“…Robert Sinnerbrink (2011) has argued that little attention has been given to the question of "whether philosophy itself is transformed through its encounter with film" (p.28). Similarly, Vivian Sobchack (2011) recognizes the potential for mutual influence between film and philosophy.…”

Section: Romantic Film-philosophymentioning

confidence: 99%

Funny feelings: taking love to the cinema with Woody Allen

Zurba¹

2021

Preprint

0

View full text Add to dashboard Cite

This dissertation utilizes the films of Woody Allen in order to position the cinema as a site where realizing and practicing an embodied experience of love is possible. This dissertation challenges pessimistic readings of Woody Allen’s film that render love difficult, if not impossible. By challenging assumptions about love, this dissertation opens a dialogue not only about the representation of love, but the understanding of love. Rather than a Platonic love of unity, this dissertation combines the phenomenological work of Luce Irigaray and Jean-Luc Marion to describe a love of letting be. A love of letting be focuses on the lived experience of love as a phenomenology. In a love of letting be it is the intent of both lovers to regard each other as an unknowable whole, whom they must support and whose mystery they must protect. The transformations of four characters from Allen’s cinema, Allan Felix of Play it Again, Sam, Alvy Singer of Annie Hall, Cecilia of The Purple Rose of Cairo, and Mickey Sachs of Hannah and her Sisters serve as illustrations of how coming to a love of letting be is possible. The four characters, the nervous romantics, come to understand a love of letting be through their experience in the cinema. Their experience in the cinema comes to enlighten their understanding and living of love as a love of letting be.

show abstract