2022-02Forum
Filming Concepts, Thinking Images: On Wonder, Montage and Disruption in an Image-Saturated World

Abstract:

This article explores the relation between cinema and philosophy through the lens of interest shown by some filmmakers in the lives and works of philosophers. It begins by delving into contemporary perspectives on the relationship between philosophy and cinema. In order to assess how the constitutive dissimilarity of the two terms and the ways in which they can be brought together are at the origin of speculative short circuits and experiences of wonder, it brings together the works of thinkers – Cavell, Benjamin, and Kracauer; and filmmakers Rossellini, Montaldo, Keaton, and Jarman. Reflecting on the aesthetic and cultural impact of cinema is all the more important given the current omnipresence of images and prosthetic technologies that, with their incessant solicitations, threaten the processes of apprehension, learning, and conveying of knowledge. Thinking and perceiving differently thus becomes an essential function of cinema, one keenly performed in Safaa Fathy’s Derrida’s Elsewhere, analyzed in the last two sections.

Keywords:

film, philosophy, wonder, speculative short circuit, montage, disruption

How to cite:

Baldi, Vania, and Nélio Conceição. “Filming Concepts, Thinking Images: On Wonder, Montage and Disruption in an Image-Saturated World.” Eidos. A Journal for Philosophy of Culture 6, no. 2 (2022):  70-85. https://doi.org/10.14394/eidos.jpc.2022.0017.

Author:

Vania Baldi
Prof. ISCTE-Instituto Universitário de Lisboa, CIES-IUL,
Av. das Forças Armadas, 1649-026 Lisboa, Portugal;
Digital Media and Interaction Centre, Universidade de Aveiro,
3810-193 Aveiro, Portugal
https://orcid.org/0000-0002-7663-3328
Vania.Baldi@iscte-iul.pt

Nélio Conceição
IFILNOVA – Nova Institute of Philosophy, Nova University of Lisbon,
Avenida de Berna 26C, 1069-061 Lisboa, Portugal
https://orcid.org/0000-0002-5798-3998
nelioconceicao@fcsh.unl.pt

References:

Baldi, Vania. “Girare i concetti, pensare le immagini: cortocircuiti speculativi cuciti sullo schermo.” Filmcronache, no. 2 (2004).

Benjamin, Walter. “Franz Kafka. On the Tenth Anniversary of His Death.” In Vol. 2, Selected Writings: 1927-1934, 794-818. Translated by Harry Zohn. Cambridge, MA: The Belknap Press of Harvard University Press, 2005.

Benjamin, Walter. “The Work of Art in the Age of Its Technological Reproducibility.” In Vol. 3, Selected Writings: 1935-1938, 101-33. Translated by Edmund Jephcott and Harry Zohn. Cambridge, MA: The Belknap Press of Harvard University Press, 2006.

de Baecque, Antoine,  Thierry Jousse, Jacques Derrida, and Peggy Kamuf. “Cinema and Its Ghosts: An Interview with Jacques Derrida.” Discourse: Journal for Theoretical Studies in Media and Culture 37: nos. 1 and 2, (2015): 22-39. Published by Wayne State University Press. https://doi.org/10.13110/discourse.37.1-2.0022.

Buñuel, Luis. “Découpage, or Cinematic Segmentation.” In An Unspeakable Betrayal: Selected Writings of Luis Buñuel. Translated by Garrett White, 131-35. Berkeley/Los Angeles/London: University of California Press, 2000.

Carchia, Gianni. L’amore del pensiero. Macerata: Quodlibet, 2000.

Cavell, Stanley. Pursuits of Happiness. The Hollywood Comedy of Remarriage. Cambridge, MA/London: Harvard University Press, 1981.

Deleuze, Gilles. Cinema 1. The Movement-image. Translated by Hugh Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press, 1986.

Deleuze, Gilles. Cinema 2. The Time-image. Translated by Hugh Tomlinson and Robert Galeta. Minneapolis: University of Minnesota Press, 1989.

Escobar, Roberto. “Immagini di libertà.” Aut Aut (“Pensare al Cinema”), no. 309, (2002): 5-18.

Frampton, Daniel. Filmosophy. London: Wallflower Press, 2006.

Gilloch, Graeme. Siegfried Kracauer. Our Companion in Misfortune. Cambridge/Malden: Polity, 2015.

Hansen, Miriam Bratu. Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno. Berkeley/Los Angeles/London: University of California Press, 2012.

Herzogenrath, Bernd, ed. Film as Philosophy. Minneapolis/London: University of Minnesota Press, 2017.

Jarman, Derek. Questo non è un film di Ludwig Wittgenstein. In Wittgenstein, edited by T. Eagleton and Derek Jarman, 51. Milano: Ubilibri, 1993.

Kracauer, Siegfried. “Photography.” In The Mass Ornament: Weimar Essays, edited and translated by Thomas Y. Levin, 47-63. Cambridge, MA/London: Harvard University Press, 1995.

Kracauer, Siegfried. Theory of Film: The Redemption of Physical Reality. Princeton, NJ: Princeton University Press, 1997.

Mullarkey, John. Refractions of Reality: Philosophy and the Moving Image. London: Palgrave Macmillan, 2009. https://doi.org/10.1057/9780230582316.

Perniola, Mario. Art and its Shadow. Translated by Massimo Verdicchio. New York/London: Continuum, 2004.

Perniola, Mario. The Sex Appeal of the Inorganic: Philosophies of Desire in the Modern World. Translated by Massimo Verdicchio. New York/London: Continuum, 2004.

Read, Rupert, and Jerry Goodenough, eds. Film as Philosophy: Essays in Cinema After Wittgenstein and Cavell. Hampshire/New York: Palgrave Macmillan, 2005. https://doi.org/10.1057/9780230524262.

Sinnerbrink, Robert. “Filmosophy/Film as Philosophy.” In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, edited by Noël Carroll, Laura T. Di Summa-Knoop, and Shawn Loht, 513-39. Cham, Switzerland: Palgrave Macmillan, 2019. https://doi.org/10.1007/978-3-030-19601-1_22.

Sinnerbrink, Robert. New Philosophies of Film: Thinking Images. London/New York: Continuum, 2011.

Sinnerbrink, Robert. “Photobiographies: The ‘Derrida’ documentaries as film-philosophy.” NECSUS 5, no. 1, (Spring 2016): 59-76.

Stiegler, Bernard. The Age of Disruption: Technology and Madness in Computational Capitalism. Translated by Daniel Ross. Cambridge: Polity, 2019.

Stiegler, Bernard, and Victor Petit. Pharmacologie du Front national, Suivi du “Vocabulaire d’Ars Industrialis.” Paris: Flammarion, 2013.

Viegas, Susana. “Deleuze and Film’s Philosophical Value.” Kriterion 59, no. 139, (Jan-Apr 2018): 271-86. https://doi.org/10.1590/0100-512x2017n13914sv.

Open Access Statement:

This is an open access journal which means that all content is freely available without charge to the user or his/her institution. Users are allowed to read, download, copy, distribute, print, search, or link to the full texts of the articles, or use them for any other lawful purpose, without asking prior permission from the publisher or the author, as long as the author and original source are properly cited. This is in accordance with the BOAI definition of open access.

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. Submitting a text to Eidos. A Journal for Philosophy of Culture means that the author agrees with the general conditions of this license. The author does and will maintain copyrights and publishing rights for his/her article without any restrictions.