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In: Transformational Ethics of Film

Author:

Martin P. Rossouw

Martin P. Rossouw
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Dar Hadith al Hassania

Index

2001: A Space Odyssey (film)

–

absorption

,

–

,

,

see also

immersion

abstraction

–

,

,

,

–

,

,

,

,

,

,

,

–

,

,

–

,

,

,

acknowledgment (Cavell)

–

,

–

,

,

–

,

–

self-acknowledgment

–

A Clockwork Orange (film)

–

acting

–

actor

,

–

voice actor

–

adaptation

,

of philosophical text

Adkins, Brent

Adorno, Theodor

aesthetics

–

,

,

–

,

,

–

,

–

,

–

,

,

–

,

,

see also

art

aesthetic disclosure

–

,

–

see also

world-disclosure

aesthetic experience

–

,

–

,

–

,

,

aesthetic interrogation

aesthetics of existence

,

–

aesthetic subject

aesthetic values (or goals)

,

film and

,

–

,

–

,

–

,

–

,

,

,

–

,

–

,

,

,

somaesthetics (Shusterman)

affect / affective

–

,

–

,

,

–

,

,

–

,

–

,

–

,

–

,

,

–

,

–

,

,

–

,

–

,

–

,

,

,

–

,

,

affective incongruity

affective meaning

,

as domain of transformation

–

,

,

cinematic thinking and

–

,

–

,

,

–

,

,

,

–

,

–

,

,

–

desubjectivizing affect

–

,

–

,

film experience and

,

–

,

,

,

–

,

,

–

,

,

–

,

powers of affection (Del Río)

–

Akerman, Chantal (filmmaker)

,

,

–

Alcibiades

alienation

–

,

–

see also

estrangement

Alien tetralogy (film series)

–

,

,

,

,

All About My Mother (film)

–

allegory

,

–

allegory of the cave (Plato)

,

Allen, Woody (filmmaker)

Almodóvar, Pedro (filmmaker)

–

Alonso, Lisandro (filmmaker)

–

ambiguity

–

,

,

,

,

–

,

,

–

,

as stylistic effect

,

,

–

,

–

America / American

–

,

–

African-American cinema

Anglo-American philosophy

–

analogue cinema

–

anamnesis

see also

forgetting

anarchism

–

animated film

–

anthropology / anthropological

anthropomorphism

,

,

–

anthropocentrism

–

Antichrist (film)

Antunes, Luis Rocha

,

A Philosophy of Walking (Gros)

–

argument

,

–

,

–

,

as condition for film as philosophy

,

–

,

–

,

,

film as philosophical argument

,

–

,

,

,

,

,

–

see also

film as philosophy

reason-giving and

–

visual argument

–

,

–

art / artwork

–

,

,

,

–

,

,

–

,

–

,

,

–

,

–

,

,

,

,

,

,

–

see also

aesthetics

artist

–

,

–

artistic imagination

ethical value of

,

ethics of

–

making art as technique of transformation

–

,

morality and

,

narrative art

,

–

philosophy of

self / selfhood and

,

–

self-transformation and

–

value of

,

Artaud, Antonin

–

art cinema

,

–

,

,

artist

–

,

–

aspect-seeing (Wittgenstein)

–

asceticism

–

,

,

–

,

,

,

–

,

,

–

,

,

,

,

,

–

,

,

,

–

,

,

–

,

–

,

–

,

,

–

as goal of transformation

ascetic technique

–

,

–

,

–

askesis

–

,

,

–

,

,

as mode of transformation

–

,

–

,

–

,

,

–

,

–

as self-work of the viewer

–

,

–

,

–

as transformational work of film

,

,

–

see also

withholding

film style and

–

preparatory ethics and

,

–

A Separation (film)

assent (technique)

–

,

Astruc, Alexandre

A Thousand Plateaus (Deleuze & Guattari)

attention / attentiveness

–

,

,

,

–

,

–

,

–

,

as domain of transformation

–

,

–

,

–

,

–

,

–

,

–

,

–

as technique of transformation

–

,

as value of transformation

,

,

–

,

–

,

,

–

,

–

bodily attention

,

–

see also

embodiment

film style and

interrogative attention (Pippin)

,

–

ontological attention

–

visual attention

,

attitude

,

,

–

,

–

,

–

,

–

,

,

,

see also

interpretation

critical (or detached, suspicious) attitude

,

epistemological attitude

–

,

–

,

ethical attitude

–

,

–

ideal attitude towards film

,

–

,

–

,

,

–

,

–

,

–

,

–

,

,

–

,

–

,

interpretative attitude

–

,

–

natural attitude

,

openness and

,

,

reflectivity and

,

–

skepticism and

auteur see also

author

auteurism

–

,

auteur theory

–

valorization of

–

,

–

author

,

–

see also

auteur

authorial image (or persona)

–

,

,

,

–

,

,

–

,

‘death of the author’ (Barthes)

–

,

automatism

,

–

avant garde film

minimalist structural film

,

Avatar (film)

–

,

,

–

aversio (technique)

–

awareness see also

attention

as domain of transformation

as value of transformation

,

,

,

–

,

–

,

–

,

,

–

,

–

,

–

,

,

–

,

–

,

,

–

,

–

,

,

–

,

,

–

,

–

,

–

,

ethics of

–

,

–

awe

,

–

bad faith

–

Badlands (film)

Baggini, Julian

,

–

Bakewell, Sarah

Balázs, Béla

–

,

–

,

Barnett, Christopher

Barthes, Roland

–

Baskin, Jon

,

,

–

Baudelaire, Charles

Bauer, Nancy

–

Bazin, André

–

,

,

,

,

–

beauty

,

,

,

–

,

,

–

as value of transformation

,

becoming

–

,

–

,

–

,

–

,

–

,

,

,

–

,

as value of transformation

,

–

,

,

–

,

–

,

,

becoming-other

–

,

,

,

–

becoming-cinematic

–

becoming-philosophical

–

,

–

becoming yourself

–

becoming-world of the self

of thought

–

self-becoming

–

Belfiore, Eleonora

belief

,

–

,

,

,

,

,

–

,

see also

conviction

as domain of transformation

–

,

,

,

–

,

–

,

–

,

–

,

,

,

–

,

belief in film

–

belief in this world

–

,

letting go of

–

,

–

,

,

,

–

,

Bennett, Oliver

Bennett, Robert

–

Bergen-Aurand, Brian

,

Bernauer, James

–

Bertolucci, Bernardo (filmmaker)

Bergson, Henri

–

Bersani, Leo

,

,

,

–

,

,

–

,

–

,

,

,

,

,

,

–

,

Bildung

Biutiful (film)

Black film

Blade Runner (film)

,

,

–

‘Blow Your Mind’ (ethical slogan)

,

–

,

–

,

–

,

–

see also

transformational ethics of film

Blue (film)

,

–

,

–

body

,

,

,

–

,

,

–

,

,

–

see also

embodiment

as domain of transformation

,

,

,

–

,

–

bodily reflexivity

–

collectivity and

–

Body without Organs (Deleuze & Guattari)

,

–

,

–

Bogue, Ronald

‘bold thesis’ of film as philosophy (Livingston)

,

–

see also

degrees of film as philosophy

Boljkovac, Nadine

Bordwell, David

–

,

,

,

Botz-Bornstein, Thorsten

bracketing (or epoché)

,

see also

phenomenology

brain

,

–

,

brainwashing

‘the brain is the screen’ (Deleuze)

,

–

Bresson, Robert (filmmaker)

Brown, William

,

,

–

,

–

,

Buddhism

–

,

–

,

see also

Zen Buddhism

bumper sticker

–

,

,

–

,

,

,

,

,

,

–

,

,

,

see also

‘Blow Your Mind’

;

‘Expand Your Mind’

;

‘Know Yourself’

;

‘Lose Your Self’

;

‘Remind Yourself’

;

‘Sense Your Senses’

;

slogan

bumper sticker ethics

–

,

Burke, Seán

calm / calmness

,

–

,

–

,

,

–

camera

–

,

,

,

,

–

,

,

as metaphor

camera movement

–

,

–

,

–

caméra-stylo

care of the self (Foucault)

–

,

,

–

,

–

,

,

Carroll, Noël

,

,

,

–

,

–

,

–

,

–

,

,

,

–

clarificationist view of art

–

on aging

–

,

–

on ancient philosophy

–

on film as argument

–

,

–

,

–

on film as thought experiment

maieutic argument

,

–

,

–

on horror

–

,

–

on love

on popular philosophy through film

,

–

,

,

–

on Sunset Boulevard

–

,

–

,

on Vertigo

case studies

approach to (or types of)

Castaneda, Carlos

catharsis

Cavell, Stanley

,

,

,

,

,

,

,

–

,

–

,

,

–

,

,

–

,

–

,

–

,

–

,

acknowledgment

–

,

–

,

,

–

,

–

comedy of remarriage

,

–

moving image of skepticism

–

,

–

,

–

,

on ‘good films’

–

,

–

on moral perfectionism

–

on skepticism and film

–

,

–

,

–

,

–

,

on the thinking of film

–

presentness

–

,

,

–

,

writing on film

–

character

,

,

,

,

,

–

,

–

,

–

,

,

,

–

,

,

,

–

,

,

–

,

Chion, Michel

Choi, Jinhee

Christian / Christianity

–

flesh

monasticism

,

–

,

–

,

mysticism

–

myth

–

hermitage

–

,

Cinema 1: The Movement-Image (Deleuze)

,

Cinema 2: The Time-Image (Deleuze)

,

cinemakeover

–

,

,

–

,

–

,

,

,

–

,

–

,

–

,

–

as a term

–

critical reservations about

–

,

–

,

,

–

envisioning (or critical imagining) of

–

,

,

–

,

–

,

,

,

–

,

–

,

–

,

,

,

,

,

–

,

–

,

–

film as philosophy’s biases about

–

Cinematic Ethics (Sinnerbrink)

cinematic ethics see

film ethics

cinematic experience see

film experience

cinematic thinking

–

,

–

,

,

–

,

,

,

,

–

,

,

,

see also

film as philosophy

;

Frampton, Daniel, Sinnerbrink, Robert

as condition for film as philosophy

,

–

,

–

,

–

,

in ‘filmosophy’ (Frampton)

,

–

in ‘romantic film-philosophy’ (Sinnerbrink)

,

,

,

–

nature of

–

,

–

,

–

,

,

–

,

,

–

,

vs. conventional philosophical thinking

,

–

,

–

,

–

,

–

,

–

,

–

cinematography

,

,

,

,

–

,

,

,

–

cinephilia

,

circumspection (technique)

–

Cities of Words (Cavell)

–

citizenship

–

Citton, Yves

clarification (Carroll)

–

Clewis, Robert

close-up

,

,

,

–

,

,

cognition / cognitive

,

–

,

–

,

–

,

–

,

–

,

,

–

,

,

as domain of transformation

,

–

,

,

–

cognitive closure

–

,

–

,

cognitive dissonance

,

cognitive difficulty

,

–

see also

difficult-making

cognitive film theory

–

,

,

cognitive frames / frameworks

–

,

,

–

,

cognitive play

cognitive science

cognitive value / values

,

,

,

cognitive vision

morality and

–

,

Colman, Felicity

,

colonialism

–

comedy

comedy of remarriage (Cavell)

,

–

community

,

,

,

,

–

,

,

,

–

,

communal aspects of film as philosophy

–

complex cinema

–

,

,

,

see also

mind-game film

;

twist film

Conant, James

confession

,

–

,

–

,

connection / connectedness

–

,

–

as value of transformation

,

,

–

,

–

,

,

–

,

–

,

,

,

–

,

,

–

to the world

–

,

,

,

–

,

–

,

–

,

–

visual connections

–

,

consolation

contemplation

as mode of transformation

,

–

,

–

,

–

,

,

–

,

–

,

–

,

–

,

,

–

,

–

,

–

,

–

,

–

,

–

,

–

as technique (or practice) of transformation

,

–

,

,

–

,

–

,

–

,

–

,

,

,

,

,

–

,

–

,

–

,

,

–

as transformational work of film

,

–

,

,

–

,

–

,

–

,

,

–

,

,

,

–

as value of transformation

,

–

,

–

,

–

,

,

–

contemplating the world (technique)

,

contemplative asceticism (sub-mode of transformation)

–

,

–

,

,

–

,

–

,

,

–

,

–

,

–

,

–

,

contemplative filmmaker

,

–

contemplative endurance (sub-mode of transformation)

,

,

–

,

–

,

,

–

,

,

,

–

,

,

contemplative ministering (sub-mode of transformation)

,

contemplative pleasure (sub-mode of transformation)

,

contemplative mysticism (sub-mode of transformation)

–

,

–

,

,

–

film and

,

,

,

see also

contemplative style

film stye and see

contemplative style

ministering of

nature of

–

recollection and

contemplative style

,

,

–

,

–

,

–

,

–

,

–

ethical interest in

,

–

,

–

,

–

,

,

,

–

interpretation of

,

,

–

,

–

,

–

,

,

–

,

–

nature of

–

transformational work (agency, effect, initiative) of

,

,

–

,

,

–

,

–

,

–

,

,

–

,

–

,

–

types of

–

continuity

see also

discontinuity

between viewer and film

,

,

–

,

–

between self and world

,

–

,

digital cinema and

–

filmic space and

–

historical continuity of motive of personal transformation

,

ontological

,

–

conversation

–

,

–

,

–

see also

dialogue

conversion

,

–

,

,

–

,

,

conviction

,

–

,

,

,

see also

belief

hermeneutics of

see also

interpretation

Cooper, Sarah

Coplan, Amy

,

cosmos

–

see also

nature

counter-example

–

,

Cox, Damian

–

creation / creative

–

,

,

,

–

,

,

,

–

,

–

,

,

,

–

,

–

,

–

,

–

,

,

,

–

,

,

,

–

,

Creation (Christianity)

–

creation of concepts (Deleuze)

–

,

,

–

,

–

,

–

creative becoming

‘film-world creation’ (Frampton)

self-creation

,

,

–

crisis

,

,

–

Critchley, Simon

,

,

–

,

,

,

–

,

–

,

on Malick / The Thin Red Line (film)

,

–

,

,

–

,

–

critical thinking

–

criticism / critique

,

–

,

,

,

–

,

,

,

–

see also

film criticism

deconstruction and

meta-criticism

–

,

reflexive critique

–

‘violence’ of

,

world-disclosing critique

crystals of time (Deleuze)

cult

–

,

cult film

–

,

,

–

,

culture / cultural

,

–

,

,

–

,

–

,

–

,

,

–

,

,

–

,

,

,

,

,

,

–

,

,

–

counterculture

–

cross-cultural

–

,

,

cultural alienation

–

cultural conditioning

,

cultural hegemony

cultural motives

–

cultural resistance

culture of narcissism (Lasch)

culture of speed

–

fan culture

film and

–

history and

–

,

,

popular culture

–

preparatory culture

screen culture

selfhood and

,

–

Cumberbatch, Benedict (actor)

–

,

curiosity

,

cutting see

editing

cynicism

dance

–

Danto, Arthur

Das Rheingold (music drama)

Davidson, Arnold, I.

Davies, David

,

–

,

,

,

,

,

–

,

,

Davis, Colin

–

Days of Heaven (film)

,

,

death

,

–

,

,

,

see also

mortality

‘death of the author’ (Barthes)

–

,

deconstruction

,

,

–

degrees of film as philosophy

,

,

,

,

,

see also

film as philosophy

bold

,

–

,

,

,

,

,

,

,

,

,

,

–

,

–

,

,

–

,

–

,

–

degree as ‘engaging in’ vs. ‘engaging with’

,

,

–

moderate

,

–

,

,

,

,

,

,

,

–

,

–

weak

,

–

,

,

–

,

,

,

DeLarge, Alex (character)

–

Deleuze and the Cinemas of Performance (Del Río)

–

Deleuze, Gilles

,

,

,

,

,

–

,

,

–

,

,

,

–

,

–

,

–

,

–

,

–

,

–

,

–

,

,

–

,

–

,

,

,

,

,

Body without Organs (Deleuze & Guattari)

,

–

,

–

on immanence

,

–

,

–

plane of immanence

,

,

–

,

–

,

–

creation of concepts

–

,

,

–

,

–

,

–

‘the brain is the screen’

,

–

unthought within thought

,

–

Del Río, Elena

–

,

,

,

powers of affection

–

democracy / democratic

,

–

,

democracy of thought

–

Denis, Claire (filmmaker)

–

De Palma, Brian (filmmaker)

–

Derrida (film)

Derrida, Jacques

,

Descartes, René

–

,

–

,

,

–

,

deterritorialization

–

,

,

,

–

dialectic / dialectical

–

,

,

,

dialogue

,

–

,

,

–

,

,

–

,

–

,

–

,

,

,

,

,

,

,

–

,

–

,

as technique of transformation

–

,

–

,

–

between film and philosophy

–

,

–

,

–

self-dialogue

,

,

–

,

‘thinking dialogue’

–

Diaz, Lav (filmmaker)

–

diegesis / diegetic

,

,

–

,

,

–

digital cinema

–

digital detox

–

,

difference

,

,

–

,

,

–

as value of transformation

,

–

of thought

–

Difference and Repetition (Deleuze)

difficult-making (or obstruction, discomfort) see also

endurance

as transformational work of film

,

,

,

–

,

–

,

–

,

–

,

–

,

Diogenes

–

discontinuity see also

continuity

between viewer and film

–

discontinuous editing

,

,

historical discontinuity

disgust

Disney

–

disorientation

,

–

,

domain of transformation

,

–

,

,

,

,

,

,

,

,

–

,

,

–

,

–

,

–

,

,

,

–

,

–

,

–

,

–

,

acts / actions as

–

assumptions (or presuppositions) as

,

–

,

–

,

,

,

–

,

,

–

,

,

–

attention as

–

,

–

,

–

,

–

,

–

,

–

,

–

behavior as

beliefs as

–

,

,

,

–

,

–

,

–

,

–

,

,

,

–

,

body as

,

,

,

–

,

–

cognitive domains

,

–

,

–

,

–

,

–

connections (or interactions) between domains

–

,

,

,

–

,

–

desire as

–

,

–

emotion as

,

–

,

–

,

–

,

,

experience (subjective) as

,

–

,

,

,

,

–

,

,

–

,

–

,

,

–

,

,

–

,

–

lifestyle as

habit as

,

–

imagination

–

,

–

,

intentions as

knowledge as

–

,

–

,

–

,

,

–

,

,

,

,

non-empirical domains

of the extended self

perception as

,

–

,

–

,

–

,

–

,

–

,

–

pleasure as

–

,

reason as

–

social relationships as

,

senses as

,

–

,

–

,

,

–

thought / thinking as

,

–

,

,

–

,

,

,

–

,

–

,

–

,

–

,

–

,

–

,

–

will as

–

,

–

worldview as

–

Do the Right Thing (film)

Downing, Lisa

drawing

–

Dryer, Carl Theodor

drugs

–

,

–

,

,

–

,

,

,

–

dualism

,

–

,

Dutoit, Ulysse

,

,

,

–

,

,

–

,

–

,

,

,

,

,

,

–

,

Eco, Umberto

ecstasy

,

–

,

–

see also

mysticism

ecstatic thinking

–

,

,

ekstasis

,

,

–

film style and

–

editing

,

,

,

–

,

,

–

discontinuous editing

,

,

rhythm and

–

,

–

education

–

,

,

,

–

,

–

see also

pedagogy

film and

film as educational (or pedagogical) resource

–

,

,

,

–

,

–

,

–

,

–

of perceptions

–

of senses

–

ego

,

,

,

–

,

–

,

see also

self, the

Eikhenbaum, Boris

Eisenstein, Sergei

–

,

–

Eldridge, Richard

,

,

elitism

–

,

–

,

–

Elkins, James

–

ellipses / elliptical

as stylistic effect

,

narrative and

,

Elliston, Clark

embodiment

,

,

,

,

–

,

–

,

of film

–

,

–

,

–

,

,

–

,

–

,

–

embodied agency

–

embodied experience

–

,

–

,

–

,

–

,

–

,

–

,

,

embodied knowledge / knowledge of body

,

–

,

–

Emerson, Ralph Waldo

–

,

–

emotion / emotional

–

,

,

,

–

,

–

,

,

–

,

,

,

,

art and

as domain of transformation

,

–

,

–

,

–

,

,

emotional understanding

engagement through film

–

,

,

,

empathy

,

–

,

cultivation of

film and

,

,

emptiness

as value of transformation

empty space

self-emptying

,

–

,

enchantment

endurance

as mode of transformation

,

,

–

,

–

,

–

,

–

,

–

Enter the Void (film)

enworldedness

–

,

–

Epicurus

–

,

epistemology / epistemological

–

,

,

–

,

,

–

,

,

–

,

–

,

,

self-restraint and

–

,

,

,

,

episteme

,

–

epoché (or bracketing)

,

see also

phenomenology

Epstein, Jean

–

,

–

,

–

,

,

–

estrangement

,

,

,

–

,

,

–

see also

alienation

ethics

,

–

,

–

,

,

,

,

–

,

,

–

,

,

,

–

,

–

,

,

–

ancient philosophy, inherent to

,

–

art and

–

art of

–

bumper stickers and

–

,

ethical attitude

–

,

–

ethical discourse

,

ethical experience

,

ethical imperative

–

,

–

,

–

,

–

ethical interpretation

–

ethical model

,

,

ethical ‘mode of subjection’ (Foucault)

–

,

–

ethical motive (or interest)

,

–

,

,

,

,

,

–

,

–

,

–

,

,

–

,

,

,

–

,

,

,

–

,

–

,

see also

personal transformation

ethical perception

–

ethical self

–

ethical ‘substance’ (Foucault)

–

,

–

ethical ‘telos’ (Foucault)

–

,

ethical theory

,

–

,

–

ethical turn

ethical work

–

film and see

film ethics

film as philosophy and

–

,

–

see also

personal transformation

Foucauldian

,

–

,

–

,

,

,

–

imagination and

–

implicit (or implied) ethics

,

,

,

,

,

,

,

–

,

,

–

,

–

,

interpretation and

,

–

,

–

,

–

Kantian

–

,

–

literature and

metaphysics and

philosophy, inherent to

,

,

–

,

,

–

,

,

politics and

,

,

,

self-preparation and see

preparatory ethics

sex and

–

the ordinary (or everyday) and

,

,

–

,

,

,

transformation and see

transformational ethics

of self-expansion

,

–

,

–

,

,

–

of self-concentration

,

–

,

–

,

of the self

–

of the other

self-transformation as aspect of

vs. morality

,

–

European cinema

Experimental Phenomenology: An Introduction (Ihde)

–

evil, problem of

–

evil demon scenario (Descartes)

–

,

–

eXistenZ (film)

‘Expand Your Mind (ethical slogan)

,

–

,

,

–

see also

transformational ethics of film

extreme cinema

–

face

,

–

,

see also

close-up

failure

–

,

–

,

faith

,

bad faith

–

Falzon, Chris

,

,

,

,

–

,

–

,

–

fans and fan culture

,

–

,

,

,

fan studies

fascism

feeling see

emotion

feminism

fiction / fictional

–

,

–

,

,

–

,

fictional world

,

film and see

fiction film

narrative fiction

–

non-fiction

popular fiction

–

,

–

science fiction

–

fiction film

,

–

,

–

Fight Club (film)

–

,

–

,

,

–

,

–

,

,

,

,

as means (or medium, aid) for viewer’s transformation

–

critical reception of

–

,

,

–

everyday reception of

–

Jack (character)

,

,

–

philosophical reception of

–

,

,

–

transformational ethics as theme in

–

,

–

,

–

,

–

transformational ethics in interpretations of

–

,

–

,

–

transformational techniques depicted in

–

,

–

transformational values depicted in

–

Tyler Durden (character)

,

–

,

–

,

–

,

Fight Club (Palahniuk)

,

fight clubs

–

,

,

,

–

,

,

,

–

,

–

,

see also

Fight Club (film)

fighting

as metaphor for self-transformation

as technique of transformation as

–

,

–

,

–

,

–

,

film

art form of

,

,

as doing (or engaging in, contributing to) philosophy

,

,

–

,

–

,

–

,

,

–

,

–

,

,

–

,

–

,

–

,

,

–

,

,

–

,

–

,

,

–

,

–

,

,

–

,

–

,

,

,

,

,

,

–

,

,

–

see also

film as philosophy

as educational (or pedagogical) resource

–

,

,

,

–

,

–

,

–

,

–

as event

–

,

–

,

,

as illustration of philosophy

–

,

,

–

,

–

,

,

,

as medium (aid, means) for filmmaker’s thought

–

,

–

,

,

–

,

as medium (aid, means) for viewer’s transformation

–

,

–

,

,

,

,

–

,

–

,

,

–

,

–

,

,

–

,

–

,

–

,

–

,

,

–

,

–

see also

transformational ethics of film

as seventh art

,

as source of philosophical insight

,

,

–

,

,

,

–

as thinking / thought

,

,

–

,

–

,

–

,

–

,

–

,

–

,

–

,

–

,

–

,

–

,

,

–

,

–

,

,

see also

cinematic thinking

;

film as philosophy

as thought experiment

,

,

–

,

–

,

,

–

as work

belief in

–

Black film

creative power of (Deleuze)

–

,

–

see also

creation

dialogue with

,

,

–

,

–

,

–

,

,

–

ethics and see

film ethics

film genre

–

,

,

,

,

–

,

film noir

,

good of see

good, the

ideology and

institution of

–

medium of

–

,

–

,

–

,

–

,

–

,

–

,

,

personification of

–

,

photography and

–

,

,

–

reflective (contemplative, thoughtful) agency of

–

,

,

,

–

,

–

,

,

,

,

,

reflexivity (or knowingness) of

–

,

–

spectatorship of see

film spectatorship

;

viewer

subjective agency of

–

, –

,

–

,

–

,

transformational work (agency, effect, initiative) of

,

,

–

,

–

,

,

–

,

–

,

–

,

,

–

,

–

,

,

–

,

–

,

,

–

,

–

,

–

,

–

,

transformational value of see

values of transformation

value of see

value

viewer of see

viewer

film as philosophy

,

–

,

,

–

,

–

,

–

,

–

,

–

,

–

,

,

,

,

,

,

–

,

–

,

–

,

,

,

,

–

,

,

–

,

–

,

,

–

,

–

assumptions (presuppositions, pre-interpretative interests) in

,

–

,

,

,

–

,

–

,

as theoretical practice

–

,

auteurist tendencies in

–

,

–

basic conditions (contexts, horizons, motives) for

–

,

,

–

,

,

,

,

–

,

–

see also

knowledge

;

subjectivity

;

power

;

nature

canon of

–

criticism of

–

,

–

,

,

,

see also

‘problem of paraphrase’ (Livingston)

;

‘philosophical limits of film’ (Russell)

conceptions of (positions on, approaches to)

–

,

–

,

,

,

,

,

–

,

–

,

,

,

,

–

,

–

,

,

,

,

–

,

,

–

,

,

–

,

conditions of

,

,

–

,

–

,

,

,

–

,

,

–

,

,

,

–

,

–

see also

argument

;

illustration

;

thought experiment

;

philosophical thinking

;

self-reflection

;

cinematic thinking

;

preparatory ethics

debate of

–

,

–

,

,

–

,

–

,

–

,

,

,

,

–

,

,

,

–

,

–

definition (or concept) of

,

,

degrees of see

degrees of film as philosophy

ethical assumptions (agendas, conceptions, motives) in

–

,

–

,

–

,

,

–

,

,

–

,

–

,

–

,

–

Fight Club and

–

good (value, ethical significance) of

,

,

,

–

,

–

,

–,

,

–

,

,

–

see also

transformational ethics of film

intentionalist approaches to

–

,

–

,

–

history of

,

meta-theory (or meta-criticism), need for

–

,

,

,

–

,

–

,

–

,

–

,

–

objections to see

objections to film as philosophy

problems (challenges, difficulties) in debate

,

–

terminology for

theoretical project of

,

–

,

–

,

–

,

,

–

,

–

,

,

–

,

,

–

,

,

,

,

–

,

,

,

–

,

–

transformational ethics and see

transformational ethics of film

film analysis

film audience

,

–

,

,

,

–

see also

film spectatorship

;

viewer

audience-centered interpretation

–

philosophical audience

,

–

,

,

–

,

,

thoughtful audience

film criticism

–

,

,

,

–

,

,

–

,

–

,

,

French New Wave criticism

philosophical film criticism

,

–

,

–

,

–

film ethics

,

,

,

,

,

–

,

,

–

,

,

,

,

–

see also

transformational ethics of film

‘film as ethics’

,

transformationalist conception of

–

film experience

,

,

–

,

,

–

,

–

,

–

,

,

,

–

,

–

,

–

,

–

,

–

,

–

,

–

,

,

–

,

see also

aesthetics

;

film spectatorship

;

viewer

as collective experience

–

as intersubjective encounter (Sobchack)

–

as transformative experience

,

,

–

see also

transformational ethics of film

embodied nature of

–

,

–

,

,

–

enhancement of

–

good (or value) of

,

–

see also

good, the

immersivity of

,

,

–

,

,

–

,

–

,

–

integratedness (or unity) of

–

self-reflective nature of (Sobchack)

–

,

–

,

–

film festival

filmmaker

–

,

–

,

,

,

,

–

,

,

,

,

,

–

,

,

–

,

,

–

,

,

–

,

–

authorial image (or persona) of

–

,

,

,

–

,

,

–

,

doing philosophy through film

–

,

–

,

,

–

self-transformation of

filmmaking

,

,

,

practices of

,

practices of self-transformation and / as

,

style of see

film style

film narration

film narrative

–

,

–

,

–

see also

narrative

film noir

filmosophy (Frampton)

,

,

,

,

–

,

–

,

film reception

–

,

,

,

–

,

,

,

–

,

,

see also

Fight Club (film)

;

film spectatorship

film spectatorship

as medium (aid, means) for self-transformation

–

,

–

,

,

,

,

–

,

–

,

,

–

,

–

,

,

–

,

–

,

–

,

–

,

,

–

,

–

see also

transformational ethics of film

cultivation of

Deleuzian conception of

–

,

,

,

–

,

,

frequency of

good (or value) of see

good, the

post-viewing experience

–

practices of

,

,

–

,

,

–

repeated viewing

temporal dimensions of

–

viewing situation (or conditions)

–

film star

film studies

,

,

,

film style

,

,

–

,

–

,

–

see also

contemplative style

;

cinematography

;

perspective (stylistic effect)

;

voice-over.

devices (or techniques) of

,

,

,

–

,

–

,

–

,

–

,

–

,

–

,

–

effects (or experiences) of

,

–

,

–

,

–

,

ethical functions of

–

,

–

,

–

,

–

interpretation of

,

,

–

,

–

,

,

–

,

–

see also

interpretation

;

meta-hermeneutics

modes of transformation as models for

–

of Terrence Malick see

contemplative style

;

Malick, Terrence

style-effect connections

–

valuations of

–

visual style

–

film theory

,

,

,

–

,

–

,

,

–

film-philosophy

–

see also

film as philosophy

Fincher, David (filmmaker)

–

,

finitude

,

–

,

,

Finnane, Gabrielle

Flaxman, Gregory

Fleming, David

,

,

–

flesh (Christianity)

Flory, Dan

–

,

,

,

–

flows of forces (Deleuze)

–

see also

ontology

follow-shot

–

forces (Deleuze)

–

,

–

,

–

,

,

–

,

,

–

,

see also

ontology

depersonalized (or desubjectivized) forces

–

,

–

,

forgetting / forgetfulness

–

,

,

,

–

,

,

form

–

,

,

,

,

,

see also

film style

formalism

,

Forms of Being (Bersani & Dutoit)

–

Foucault, Michel

,

,

–

,

,

–

,

–

as ‘committed theorist’ of transformational ethics

as practitioner of transformational ethics

–

,

askesis

–

,

on ethics

–

,

–

,

,

,

–

,

–

on ethics as art

–

on help of others in self-transformation

,

–

on spirituality

–

care of the self

–

,

,

–

,

–

,

criticism of

ethical mode of subjection

–

,

–

ethical substance

–

,

–

ethical telos

–

,

technologies (or practices) of the self

–

,

–

theoretical reflection as self-transformation

–

writing as technique of transformation

–

fragment / fragmented

,

as stylistic effect

,

framing

,

Frampton, Daniel

,

–

,

,

,

,

–

,

,

–

,

,

–

,

,

,

,

–

criticism of

–

,

‘filmosophy’

–

,

–

,

‘film-thinking’ (or cinematic thinking)

,

–

,

–

,

–

‘film-thinking’ vs. philosophical thinking

–

,

–

,

–

,

–

,

–

‘filmind’

–

,

–

,

–

need for concepts (or language) of filmosophy

,

–

,

–

,

Frey, Mattias

Fried, Michael

friendship

,

–

Früchtl, Josef

Furstenau, Marc

,

–

,

–

Gaut, Berys

,

gaze see

look

Gehr, Ernie (filmmaker)

Gelassenheit (Heidegger)

–

,

genre

,

–

film genre

–

,

,

,

,

–

,

Gentlemen’s Fight Club

–

Giroux, Henry

–

Glendinning, Simon

Gravity (film)

–

God

,

–

,

–

,

,

Godard, Jean-Luc (filmmaker)

–

,

Goethe, Johann Wolfgang von

–

good, the

,

–

,

,

–

,

–

,

see also

value

‘good films’ (Cavell)

–

,

–

of film (film experience, film spectatorship)

,

–

,

–

,

–

,

–

,

–

,

–

,

of film theory

of philosophy

,

,

–

,

–

Kracauer on

,

–

,

Grau, Christopher

,

,

–

Grønstad, Asbjørn

Gros, Frédéric

–

Guattari, Félix

–

,

–

,

,

–

,

–

,

guru

,

–

,

,

–

,

habit / habitual

,

,

,

,

–

,

–

,

,

–

,

–

as domain of transformation

,

–

habituation

,

–

,

,

–

perception and

–

,

thinking and

,

viewing habits

,

–

,

Hadot, Pierre

–

,

–

,

–

,

–

,

–

,

,

,

,

concentration vs. expansion of the self

–

‘contemplating the world’ (technique)

,

self-duplication

‘view from above’ (technique)

Hamilton, Julie

Hamlet

Handley, George

Hannah Arendt (film)

happiness

,

,

–

as value of transformation

,

Happy-Go-Lucky (film)

,

,

–

Poppy (character)

,

,

–

hapticity / haptic

Harpham, Geoffrey

–

Heidegger, Martin

,

,

,

–

,

–

,

,

,

–

hermeneutics see

interpretation

Hinduism

–

His Girl Friday (film)

–

history / historical

–

,

,

–

,

,

,

–

,

,

,

,

–

,

–

as inescapable horizon

historical poetics

historicism

trans-historical

–

,

,

,

,

Hitchcock, Alfred (filmmaker)

,

,

Hollywood

,

,

–

,

–

,

,

,

see also

popular cinema

Holmes, Sherlock

–

,

Homeric epics

horror film

–

,

–

,

–

Hou Hsiao-hsien (filmmaker)

human condition

,

human enhancement

–

,

–

humanism

–

Humanities

–

humanity / being human

–

,

,

–

,

,

–

,

see also

non-human

human agency

–

human drama

–

human experience

,

human identity

,

–

human nature

–

,

,

,

–

human perception

–

,

–

,

–

,

,

–

Husserl, Edmund

,

–

,

,

Hutchinson, Phil

–

I Am Not an Easy Man (film)

identity

,

–

,

,

,

,

,

–

human identity

,

–

individual identity

,

,

–

,

–

,

,

social identity

–

ideology / ideological

–

,

,

–

,

–

,

of film

Ihde, Don

–

illustration see also

representation

as condition for film as philosophy

,

,

–

,

film as illustration of philosophy

–

,

,

–

,

–

,

,

,

see also

film as philosophy

of philosophical texts (discourse, ideas) in film

,

image

–

,

,

–

,

–

,

–

,

,

–

,

–

,

–

,

–

,

,

–

,

,

,

–

,

afterimage

–

authorial image

–

,

,

,

–

,

,

–

,

image (or depiction) of nature

,

,

,

–

,

–

,

,

–

,

,

,

–

,

–

image of thought

imagistic (thinking of film)

–

,

–

,

,

,

–

movement-image (Deleuze)

‘moving image of skepticism’ (Cavell)

–

,

–

,

–

,

sound and

,

,

,

–

thinking in images

–

,

–

,

–

time-image (Deleuze)

visual image

,

–

,

imagination

–

,

–

,

,

,

–

,

as domain of transformation

–

,

–

,

critical imagining of the cinemakeover

–

,

,

–

,

–

,

,

,

–

,

–

,

–

,

,

,

,

,

–

,

–

,

–

cultivation of

–

,

,

,

ethics (or morality) and

–

film’s engagement of

–

,

–

,

imagined community

–

imagined experience

–

imaginary worlds / scenarios

,

–

,

,

imagined community

,

–

transformational techniques and

immanence / immanent

–

,

,

–

,

,

–

,

–

,

,

–

,

,

,

,

as ethical-transformational ideal

–

distortion of immanence (Deleuze)

,

–

immanence of being (Deleuze)

,

–

plane of immanence (Deleuze)

,

,

–

,

–

,

–

immersion / immersive

,

,

,

–

,

,

–

,

–

,

–

see also

absorption

immortality

impressionism / impressionistic (stylistic effect)

–

,

,

improvisation

incongruity

affective incongruity

as stylistic effect

,

,

–

individuality

,

–

,

,

,

–

,

,

aesthetic individuality

as value of transformation

,

,

–

‘inescapable horizon’ (Taylor)

Inland Empire (film)

,

–

innocence

,

–

inside

see also

outside

inner-experience

inwardness

,

,

–

,

,

–

,

–

see also

self-concentration

vis-à-vis the outside

,

–

,

–

,

,

intellectualism

–

intensities (Deleuze)

,

,

,

–

,

,

–

see also

ontology

intentional fallacy (Wimsatt & Beardsley)

interpretation (or hermeneutics)

,

,

–

,

,

,

–

,

–

,

–

,

,

–

,

–

,

–

,

–

,

–

,

–

see also

meta-hermeneutics

as discipline

audience-centered

–

ethical interpretation

–

ethics of interpretation

,

–

,

–

hermeneutics of conviction

hermeneutics of suspicion

–

,

,

–

heuristics of

interpretative attitude

–

,

,

–

see also

preparatory ethics

;

viewer

interpretative strategies

–

,

–

of narrative

of Fight Club

–

of film

–

of film style

,

,

–

,

–

,

,

–

,

–

overreading and

–

pathways of

–

,

–

,

–

,

–

pre-interpretative interests

–

,

,

–

,

–

self-transformation as model for

–

transformational ethics and

–

,

–

,

–

value-laden

,

–

,

,

–

,

–

interrogative attention (Pippin)

,

–

introspection

,

,

–

,

is-ought fallacy

–

It Happened One Night (film)

–

James, William

–

Jarman, Derek (filmmaker)

,

,

–

,

–

Jeanne Dielman (film)

Johnson, Mark

Jones, Ward

journey

,

–

as metaphor

–

,

–

,

theorizing as

–

Justaert, Kristien

–

Kant, Immanuel

–

Kantianism

–

,

–

see also

Immanuel Kant

Keane, Marian

Kendall, Stuart

,

,

,

kenosis

–

see also

self-emptying

Kierkegaard, Søren

–

,

Kiss, Miklós

Knight of Cups (film)

knowledge

as basic condition (context, motive) for film as philosophy

–

,

–

,

,

,

,

–

,

,

,

,

–

see also

film as philosophy

as domain of transformation

–

,

–

,

–

,

,

–

,

,

,

,

as macromotive (Visagie)

–

,

as value of transformation

,

,

,

certainty of

–

,

–

,

forms of

,

,

–

,

,

new forms of

–

,

,

,

–

,

–

,

–

see also

creation

performative knowledge

self and see

self-knowledge

tacit knowledge

‘unknowing’ (Mullarkey)

–

vs. understanding

–

‘Know Yourself’ (ethical slogan)

,

–

,

,

,

,

–

,

–

,

–

,

,

–

,

,

see also

transformational ethics of film

Socrates on

,

,

,

–

Kompridis, Nikolas

,

,

–

Koopman, Colin

Korthals Altes, Liesbeth

,

Kracauer, Siegfried

,

–

,

–

,

–

,

Kroustallis, Basileios

–

,

Kuhn, Annette

Kubrick, Stanley (filmmaker)

–

Lakoff, George

landscape

,

,

Landy, Joshua

language

–

,

–

,

,

–

,

–

as domain of transformation

–

,

,

,

languageless (film-thinking)

,

–

,

need to devise

,

–

,

–

,

,

of film

–

,

ordinary language philosophy

Laruelle, Francois

,

,

Lasch, Christopher

Laugier, Sandra

–

learning

,

–

,

,

,

unlearning

,

–

Lehtimäki, Markku

Leigh, Mike (filmmaker)

Leithart, Peter

Le Mépris (film)

–

letting-be

–

,

,

–

Levinas, Emmanuel

Levine, Michael

–

life coaching

–

lifestyle (or daily routine)

–

as domain of transformation

Linklater, Richard (filmmaker)

Litch, Mary

literature

,

–

,

,

ethics and

Livingston, Paisley

,

,

,

–

,

–

intentionalist approach to film as philosophy

–

,

,

–

,

–

on the ‘bold thesis’

–

‘problem of paraphrase’

–

look (or gaze)

–

,

,

–

long take

–

‘Lose Your Self’ (ethical slogan)

,

,

–

,

,

–

,

–

,

,

–

,

see also

transformational ethics of film

preparatory ethics and

–

love

,

,

,

–

,

–

of wisdom

Lucretius

Ludovico technique

–

Lynch, David (filmmaker)

,

–

,

–

,

,

,

–

lyricism

–

MacAvoy, Leslie

,

–

,

–

Macdonald, Iain

–

,

–

,

–

Macey, David

macromotives (Visagie)

,

–

,

maieutic argument (Carroll)

,

,

–

makeover

–

,

,

–

,

–

,

,

see also

cinemakeover

Malick, Terrence (filmmaker)

,

–

,

,

,

–

,

,

–

,

–

,

–

,

,

–

,

–

authorial image (or persona) of

,

,

,

–

,

,

–

career of

–

,

,

–

,

,

,

contemplative (or philosophical) appeal of oeuvre

,

,

–

,

,

,

,

–

,

,

,

–

,

,

–

narrative interests of

–

,

nature and

–

,

–

philosophers, appeal to

,

,

,

,

,

–

,

,

–

,

silence of

–

,

stylistic hallmarks of

,

–

,

–

,

walking and

–

Manning, Russell

,

Marcus Aurelius

–

Marrati, Paola

marriage

–

,

–

,

–

remarriage, comedy of

,

–

,

–

Marsan, Eddie

Martin, Adrian

Martin-Jones, David

Marx, Karl

–

masculinity

,

,

–

materialism

,

–

,

–

,

–

,

,

anti-materialism

–

New Materialism

maxim

–

,

–

McClelland, Tom

meaning

–

,

–

,

,

,

–

,

,

–

,

,

–

,

,

,

see also

interpretation

affective meaning

,

certainty of

–

figurative meaning

meaningfulness

,

meaning-making (or making sense)

–

,

,

–

,

,

–

,

,

–

,

narrative meaning

,

–

of film

,

of life

–

,

voicing of

–

meditation

–

,

,

,

–

,

–

,

–

,

,

–

,

as technique (or practice) of transformation

,

–

,

–

,

,

–

,

,

–

film style and

–

,

see also

contemplative style

Méditations Métaphysiques (Descartes)

–

Meister Eckhart

–

Melancholia (film)

–

melodrama of the unknown woman (Cavell)

–

Merleau-Ponty, Maurice

–

,

–

meta-criticism

–

,

,

–

,

,

,

,

–

,

,

,

,

–

,

–

,

–

,

–

,

–

,

–

,

,

–

,

as ‘detective work’

–

,

,

,

ethics and

,

–

,

,

meta-hermeneutics

,

,

–

,

,

–

,

–

aims of

–

,

definition of

,

–

film style and

,

–

vs. meta-theory

meta-phenomenology

,

,

see also

phenomenology

metaphor / metaphorical

,

–

,

–

,

,

–

,

–

,

,

,

conceptual metaphor

,

,

–

metaphysics / metaphysical

,

–

,

,

,

,

–

,

,

–

,

–

,

,

,

,

meta-theory

–

,

,

–

,

,

–

as ‘detective work’

,

,

–

,

discontents of

,

–

ethical investedness of

film as philosophy and

,

–

,

,

,

–

,

–

,

–

,

,

–

,

–

film ethics and

–

,

,

–

,

,

hostility towards

–

transformational ethics and

–

,

,

–

,

–

,

–

,

usefulness (contribution, importance) of

–

,

–

,

,

–

,

–

vs. meta-hermeneutics

–

Michaels, Lloyd

Miller, James

mind

–

,

,

,

–

,

,

,

,

–

,

‘beginner’s mind’

keeping in (or calling to) mind

–

see also

recollection

;

remembering

mindfulness

,

see also

contemplation

mixture of minds

–

of the viewer

,

,

–

,

–

other minds

–

state of mind (or mindset)

–

,

,

,

–

,

,

,

,

mind-game film

–

minimalism

–

,

minimalist structural film

,

ministering

art and

–

as mode of transformation

–

,

–

,

,

,

–

,

,

,

–

,

–

,

to the other vs. from the other

,

–

misogyny

Mitchell, Kevin

Mitchell, W.J.T.

model (or ideal) viewer

,

–

,

–

,

–

,

–

,

,

–

,

–

,

see also

viewer

Deleuzian

–

,

,

–

,

modernism

–

modes of transformation

,

–

,

,

,

,

,

–

,

,

,

–

,

–

,

–

,

,

–

,

,

,

see also

asceticism

;

contemplation

;

endurance

;

ministering

;

pleasure

;

temperance

as aspects of a technique

,

–

,

as models for film style

–

as topoi

,

–

,

–

,

diachronic continuity of

connections between

,

sub-modes within

–

,

,

–

,

montage

–

,

,

,

–

see also

editing

Montaigne, Michel de

–

mood

morality

,

,

,

–

,

,

–

,

–

,

–

,

–

,

art and

,

moral cognition

–

,

moral imagination

–

moral perception

–

moral reasoning

–

moral subject

,

–

moral understanding

–

self-transformation as aspect of

–

,

–

vs. ethics

,

–

moral perfectionism

,

–

transformational ethics and

Morrison, James

mortality

–

,

see also

death

movement-image (Deleuze)

‘moving image of skepticism’ (Cavell)

–

,

–

,

–

,

Mr. Deeds Goes to Town (film)

–

Mulhall, Stephen

,

–

,

–

,

,

,

–

,

,

,

,

,

,

–

,

–

,

,

,

,

,

,

–

as reference point for film as philosophy debate

–

,

,

bold thesis of

,

–

criticism of

–

,

–

On Film (Mulhall)

–

on film as argument

–

on film engaging in philosophical thinking

,

–

,

–

,

on perspective-switching

–

,

–

,

,

–

‘priority of the particular’

–

,

,

‘space of thought’

–

,

Mulholland Drive (film)

Mullarkey, John

–

,

–

,

–

criticism of

–

criticism of film as philosophy

non-philosophy and film

–

,

,

–

on film provoking (or forcing) thought

,

–

on film resisting thought

–

,

–

,

‘unknowing’

–

Münsterberg, Hugo

–

music

–

,

,

,

mysticism

–

,

,

,

,

,

,

–

,

,

,

–

,

,

,

–

as mode of transformation

,

–

,

–

film style and

–

see also

transcendental style

unitive experience and

,

–

myth / mythical

–

,

–

,

,

–

,

–

mythical cinema

–

mythologizing

,

narcissism

,

narrative

,

–

,

–

,

,

–

,

,

–

,

,

–

,

,

–

,

,

see also

story

art of

,

–

augmentation in film

–

character see

character

diegetic world

ellipses

,

film narrative

–

,

–

,

–

incompleteness of

narration

,

,

,

–

,

,

narrative abstraction

narrative complexity

narrative meaning

,

–

narrative motif

narrative motivation

,

narrative pacing

–

non-narrative film

plot

,

theme

–

,

–

,

,

,

–

,

,

,

–

,

,

–

,

–

,

twist

,

–

,

,

–

,

,

,

unreliable narration

–

naturalism / naturalistic

–

,

–

,

,

nature

as agent

–

as basic condition (context, motive) for film as philosophy

–

,

–

,

–

,

,

,

,

,

–

,

–

,

,

–

,

–

,

–

,

–

,

–

,

,

–

,

–

see also

film as philosophy

as inescapable horizon

,

–

as macromotive (Visagie)

–

,

as narrative theme

–

,

–

,

–

,

–

as value of transformation

,

–

awareness of

–

,

,

–

being in

definitions of (or assumptions about)

,

–

,

–

,

,

–

,

human-nature dichotomy

–

image (or depiction) of

,

,

,

–

,

–

,

,

–

,

,

,

–

,

–

interpretations of

–

,

,

–

,

–

knowledge of

–

perspective (or point of view of) of

–

,

–

,

relation of self to

–

,

,

–

,

–

,

–

,

–

‘return to nature’ (Stoicism)

,

,

–

,

unity (or connectedness) with

,

–

,

–

,

–

,

–

,

,

–

,

–

,

–

,

Neer, Richard

,

,

Netflix

‘new consciousness’

–

,

–

New Criticism

New Philosophies of Film: Thinking Images (Sinnerbrink)

new, the

,

,

–

,

–

,

–

as value of transformation

,

–

,

–

,

as paradigm of transformation

new concepts

–

,

–

new experience

–

,

–

,

new knowledge

–

,

,

,

–

,

–

,

–

new perception

–

,

–

,

–

new philosophy

new vision

,

–

new ways of seeing

–

new ways of thinking / thinking the new

–

,

–

,

,

,

–

,

,

–

,

–

,

–

,

–

,

–

,

,

New World, the

–

see also

The New World (film)

negative theology

–

,

Nietzsche, Friedrich

–

nihilism

–

non-human

,

,

–

,

–

,

see also

posthumanism

;

trans-humanism

Nordine, Michael

Norris, Andrew

Nussbaum, Martha

–

novel

–

,

see also

Fight Club

;

The Thin Red Line

objections to film as philosophy

–

see also

‘problem of paraphrase’ (Livingston)

aims (or structuring interests) of film

explicitness

generality

,

imposition

,

Platonic

Oh, Woe Is Me (film)

oneness

,

–

,

as value of transformation

–

,

,

–

,

,

‘oneness of being’ (Bersani & Dutoit)

–

,

On Film (Mulhall)

–

,

ontology / ontological

,

–

,

–

,

–

,

–

,

,

–

,

–

,

–

,

,

–

,

,

,

ontological attention

–

Deleuzian ontology

–

,

–

,

–

,

,

–

,

process ontology

–

,

ordinary, the (or everyday)

–

,

ethics and

–

,

–

,

,

,

ordinary language philosophy

ordinary (everyday, lay) viewer

–

,

,

,

–,

other, the

,

,

–

,

–

as aid (or helper) in personal transformation

,

–

,

–

,

–

,

see also

ministering

as value of transformation

–

,

becoming-other

–

,

,

cinematic thinking as

,

–

ethics of the other

pain of

separation (or distance) of

–

,

outside

,

–

,

,

,

–

,

,

,

–

,

,

–

,

,

–

see also

inside

of the self

,

,

–

,

–

see also

ecstasy

of thought

,

,

,

–

see also

ecstasy

outwardness

,

–

,

,

–

see also

self-expansion

vis-à-vis the inside

,

–

,

–

,

,

Özgen-Tuncer, Asli

Ozu, Yasujirō

,

painting

–

,

–

,

–

,

Palahniuk, Chuck

,

paradigm of transformation

,

–

,

,

,

,

,

,

,

–

,

,

–

,

,

–

film as

–

guiding texts (or manuals) and

,

–

,

,

–

,

,

‘inner’ and ‘outer’ contexts in

–

positive and negative motivations in

,

–

,

–

,

,

–

enemy (or vilified) paradigm

,

–

,

passivity / passive

–

,

–

,

,

–

,

active passivity

–

,

–

as ideal

,

passive viewer

–

Patterson, Hannah

,

,

,

,

pedagogy

–

,

–

,

,

–

,

–

,

see also

education

film as pedagogical (or educational) resource

–

,

,

,

–

,

–

,

–

,

–

‘pedagogy of disruption’ (Giroux)

,

Peebles, Stacey

,

perception

,

–

,

–

,

–

,

–

,

,

,

–

,

–

,

–

,

,

–

,

,

,

–

,

–

,

,

–

as domain of transformation

,

–

,

–

,

–

,

–

,

–

,

–

as point of view (or perspective)

–

,

,

,

–

,

–

,

–

see also

perspective

ethical perception

–

habit and

–

,

human perception

–

,

–

,

–

,

,

–

moral perception

–

new perception

–

,

–

,

–

pedagogy of

–

synaesthetic perception

Peretz, Eyal

–

perfectionism

as value of transformation

,

–

Emersonian perfectionism

,

moral perfectionism

,

–

,

–

performance / performativity

,

–

,

–

,

,

affect and

–

of film

–

,

,

–

,

–

,

,

–

,

–

,

,

–

,

,

–

,

,

–

,

–

,

,

,

performative contradiction

–

performative knowledge

self-transformation and

,

,

–

,

–

,

,

,

,

–

personal transformation

aid (or help) of the other in

–

,

see also

ministering

as ethical motive (or ideal)

,

,

,

–

,

–

,

–

,

–

,

,

–

,

,

–

,

,

,

,

–

,

,

–

,

–

,

,

–

,

–

,

–

,

–

,

as ‘ethic’

,

,

–

,

as ideology

–

,

–

,

as motive (value, ideal) in film as philosophy

,

–

,

–

,

–

,

,

–

,

,

,

–

,

–

,

as motive in theory (or theoretical reflection)

–

as theme in film

–

,

–

,

–

see also

Fight Club (film)

definition of

–

film as agent of

,

,

–

,

–

,

,

–

,

–

,

–

,

,

–

,

–

,

,

–

,

,

–

,

,

–

,

–

,

–

,

–

,

historical particularity (situatedness, variability) of

–

,

–

metaphors of

–

techniques (or practice) of see

techniques of transformation

terminology for

universality (trans-historicality, continuity) of

,

–

,

,

,

–

perspective (or point of view, way of seeing)

,

–

,

,

,

–

,

–

,

–

,

,

,

–

,

,

,

,

,

–

,

,

,

–

,

–

,

,

–

,

–

,

,

–

aspect-seeing (Wittgenstein)

–

as stylistic (or narrative) effect

,

,

,

,

–

,

–

competing perspectives

–

,

–

,

–

erasure of

–

overcoming limitations of

–

,

–

perspective (or point view) of nature

–

,

–

,

subjective perspective

,

–

transformation (or switching, changing) of

–

,

–

,

,

–

,

,

–

,

,

,

,

–

,

–

,

–

personhood

as macromotive (Visagie)

–

,

see also

subjectivity

pharmacology

–

,

–

phenomenology

aims of

–

,

as approach (or discipline)

–

,

,

–

,

,

–

,

,

,

–

as approach to film

–

,

–

,

bracketing (or epoché)

,

criticisms of

–

methods of

–

,

,

practice of

,

–

film as phenomenology

–

,

,

–

,

see also

meta-phenomenology

;

Sobchack, Vivian

philosophia

–

see also

philosophy

‘philosophical disenfranchisement of film’ (Sinnerbrink)

–

,

,

–

‘philosophical limits of film’ (Russell)

,

philosophical methods

,

,

,

–

,

see also

argument

;

counter-example

;

illustration

;

question

;

thought experiment

as condition for film as philosophy

methodological characterization of philosophy

philosophical thinking / thought

,

,

–

,

–

,

,

–

,

–

,

,

–

,

–

,

,

–

,

,

as condition for film as philosophy

,

–

,

–

,

–

,

film engaging in (or enacting)

,

,

–

,

–

,

–

,

–

see also

film as philosophy

philosophical problems and

,

–

see also

film as philosophy

viewer, elicited from

,

,

,

–

,

–

,

,

–

,

–

,

–

,

–

,

–

,

–

,

–

,

,

–

,

–

see also

film as philosophy

philosophy

,

,

–

,

,

–

,

–

,

–

as a way of life

–

,

–

as domain of transformation

–

assumptions (or presuppositions) about

,

,

–

,

,

,

–

contemplation and

,

–

see also

contemplation

Cynic

defined as verb vs. noun

,

–

,

–

definitions of

–

,

,

,

,

,

,

,

–

ancient

,

,

,

,

–

,

,

–

,

–

,

,

–

,

Analytic

–

,

,

Analytic-Continental divide in

Anglo-American

–

Buddhist

–

,

–

,

Cartesian

–

,

Cavellian

,

,

–

,

see also

Cavell, Stanley

cognitivist

,

,

Continental

–

,

,

Deleuzian

,

–

,

–

,

–

,

,

,

–

,

–

,

–

,

,

,

,

,

–

,

see also

Deleuze, Gilles

Eastern

,

–

,

–

,

Emersonian

–

Epicurean

–

,

Existentialist

–

,

–

,

experiential dimension of

film and

,

,

,

–

,

–

see also

film as philosophy

;

philosophy of film

Heideggerian

–

,

,

,

,

,

,

Hellenistic

,

,

–

Kantian

–

,

–

Medieval

–

methods / techniques of see

philosophical methods

Modern

–

New Materialist

Nietzschean

–

,

,

–

,

‘non-philosophy’ (Laruelle)

–

,

,

–

ordinary language philosophy

Platonic

,

–

,

–

,

–

,

see also

Plato

popular philosophy

,

,

–

,

,

–

Post-structuralist

practical / practice of

–

,

–

,

–

,

practices of transformation as part of

,

–

,

,

–

,

,

see also

transformational ethics

problems in

,

–

,

–

Rationalist

–

Roman

,

,

–

school of

–

Socratic

,

,

–

Stoic

,

–

therapeutic philosophy

–

,

–

value of

,

,

–

,

–

vs. spirituality (Foucault)

–

walking and

–

Western

–

,

–

,

,

–

,

Wittgensteinian

Philosophy Goes to the Movies (Falzon)

philosophy of film (or film philosophy)

–

,

,

–

,

,

,

–

,

,

–

,

,

–

,

–

,

see also

film as philosophy

definition of

ethical turn in

methods in

Philosophy Through Film (Litch)

photography

,

–

,

–

,

,

,

,

,

film as photographic medium

–

,

,

–

of nature

,

,

photographic metaphors

physics

Pippin, Robert

–

,

,

–

,

,

–

Pisters, Patricia

,

Plantinga, Carl

,

–

,

–

,

play

cognitive play

Plato

,

,

,

,

–

allegory of the cave

,

Platonism

,

–

,

–

,

–

,

see also

Plato

pleasure

,

–

,

–

,

,

as domain of transformation

–

,

as mode of transformation

,

–

,

,

,

,

,

as value of transformation

Plotinus

–

Pocahontas

,

–

,

see also

The New World (film)

Poetica Kino (Eikhenbaum)

poetry / poetic

–

,

,

,

,

–

,

,

–

,

–

,

poetic disclosure

poetic experience

–

poetic rhetoric (or persuasion)

,

poetic style

–

poetic vision

,

poetics

,

point of view see

perspective

point of view of the cosmos (Stoicism)

–

point of view shot

Polan, Dana

–

politics / political

–

,

,

,

,

,

body politic

ethics and

,

,

,

popular cinema

,

–

,

,

–

,

–

,

–

,

,

–

,

,

–

see also

Hollywood

popular culture

–

Posthumanism

–

,

–

see also

trans-humanism

;

non-human

post-viewing experience

–

Potter, Sally (filmmaker)

–

power

as macromotive (Visagie)

–

,

as basic condition (context, motive) for film as philosophy

–

,

–

,

,

,

–

,

,

–

,

,

,

,

–

see also

film as philosophy

powers of the false (Deleuze)

practices of self-transformation see

techniques of transformation

prayer

,

–

,

–

preparatory ethics

,

–

,

,

,

,

,

,

–

,

–

,

–

,

–

,

–

,

–

,

–

,

,

–

,

–

,

,

,

–

see also

self-work

asceticism and

,

–

as problem (or complicating factor) to cinemakeover

,

–

,

,

,

–

letting go (or withholding) of assumptions and beliefs in

–

,

–

,

–

,

–

,

,

preparatory culture

problem of contradiction in

–

,

,

–

problem of exclusivism in

–

,

problem of idealism in

–

,

problem of initiative in

–

,

,

–

receptivity (or openness) as requirement for

–

,

,

,

,

,

–

,

–

,

self-surrender (or submission) and

–

,

–

,

–

‘presentness’ (Cavell)

–

,

,

–

,

‘priority of the particular’ (Mulhall)

–

,

,

‘problem of paraphrase’ (Livingston)

–

psychology / psychological

,

,

–

,

,

counselling

–

,

–

,

,

,

see also

therapy

empirical psychology

psychology of film

support groups

‘public pedagogy’ (Giroux)

question (philosophical method)

,

,

–

,

,

–

,

,

–

,

–

questioner

questioning effect

rhetorical

Rabinow, Paul

–

race

rationality / rational

,

,

–

,

–

,

–

non-rational

Rationalism

–

rationalization

reading

,

–

,

as technique (or practice) of self-transformation

,

–

,

–

,

,

overreading

–

see also

interpretation

readers

,

–

,

–

,

,

–

Read, Rupert

–

,

,

–

,

–

real, the

–

,

,

–

,

,

,

,

,

,

,

,

,

–

realism

,

reality

–

,

–

,

–

,

,

–

,

,

,

,

–

,

–

,

–

,

,

,

–

,

–

alternative

,

–

,

,

reality effect

reality television

reason

–

,

as domain of transformation

–

reception studies

see also

film reception

recollection

–

,

,

–

see also

remembering

reconcile / reconciliation

–

,

–

,

–

,

–

,

–

redemption

,

,

,

Reformation, the

reflexivity / reflexive

,

–

,

,

–

,

–

,

,

bodily reflexivity

–

relationality

,

,

,

–

,

–

,

relational ethics

–

,

–

releasement (Heidegger)

–

,

religion / religious

–

,

–

,

–

,

–

,

,

,

religious study of film

,

remembering

see also

recollection

‘Remind Yourself’ (ethical slogan)

,

–

,

,

see also

transformational ethics of film

repetition

,

–

,

–

,

,

representation

,

,

,

–

,

,

,

–

,

,

,

see also

illustration

against

,

,

–

,

–

as condition for film as philosophy

,

of philosophical texts (discourse, ideas) in film

,

–

of philosophers in film

Republic (Plato)

responsiveness

–

practice of

towards film

–

revelationist tradition (Turvey)

–

,

–

,

–

,

–

reverie

,

–

rhetoric / rhetorical

–

,

–

,

–

rhetorical question

technicist rhetoric

–

poetic rhetoric

Ricoeur, Paul

Ritzer, George

–

,

–

Robbins, Gregory

rock ‘n roll

Rodowick, David N.

,

,

–

Romanticism

,

–

,

,

–

,

,

–

,

–

cliché and

–

Philosophical romanticism

–

,

‘Romantic film-philosophy’ see

cinematic thinking

;

Sinnerbrink, Robert

romantic film style

–

romantic naivety

–

Rosch, Eleanor

Rossouw, Martin P.

–

Rothman, William

–

Rousseau, Jean-Jacques

–

routine

,

–

,

,

rumination

–

,

,

–

,

,

Rushton, Richard

–

,

–

,

,

Russell, Bruce

,

‘philosophical limits of film’

,

Rybin, Steven

,

,

–

,

,

,

–

,

,

–

sado-masochism

sage / sagacity

–

,

,

–

Sapir-Whorf hypothesis

–

Saxton, Libby

Schonig, Jordan

Schrader, Paul (filmmaker)

Schmerheim, Philipp

–

,

,

Schopenhauer, Arthur

–

Schur, Thomas

Schutte, Charla

–

science / scientific

–

anti-scientism

cognitive science

science fiction

–

schizoanalysis

screen

–

,

–

,

–

,

–

,

,

screen culture

screening

,

–

,

–

,

,

–

,

screen saver

screen size

Screen theory

‘the brain is the screen’ (Deleuze)

,

–

screenwriting

Seel, Martin

–

self, the see also

subjectivity

against (or negation of)

,

,

–

,

–

,

–

,

–

,

–

,

–

,

,

–

,

,

–

,

,

–

affirmation (or deepening) of

,

–

,

–

as domain of transformation

Deleuze on

dismantling (or diminishing) of

–

,

–

,

–

,

–

divided (or split) self

,

duplicated self (Hadot)

ethical self

–

ethics of the self

–

see also

care of the self

‘enworldedness’ of (Brown)

–

extended

,

–

,

,

fight (struggle, war) against

,

–

finding the self

–

,

–

,

–

,

future self

–

integration of

isolated (or disconnected) self

,

–

,

–

,

–

knowledge and see

self-knowledge

losing the self

,

,

,

see also

‘Lose Your Self’

meaning-seeking self

–

see also

meaning

metaphor (or model) for

,

–

,

,

,

multiplicity / multiplication of

–

,

,

overcoming (or escaping)

–

,

–

,

,

–

,

–

,

–

,

–

,

,

–

,

,

,

–

passive self

,

self’s relationship with itself

,

–

,

,

–

,

,

sense of

,

–

self-abandonment

,

–

,

–

,

–

,

self-actualization

,

–

self-awareness

–

,

,

–

,

–

,

–

,

,

,

self-beating

self-becoming (or becoming yourself)

–

self-concentration

,

–

,

,

,

,

–

,

,

–

,

see also

ethics of self-concentration

self-creation

,

,

–

Transformational Ethics: The Structures of Self-Creation (Visagie)

–

self-cultivation

,

–

,

–

self-destruction

,

,

,

self-determination

–

self-dialogue

,

,

–

,

self-discipline

–

,

self-dismantling

–

,

–

,

–

,

–

self-dispersion

,

–

,

,

–

self-duplication (Hadot)

self-emptying

,

–

,

see also

kenosis

self-examination

,

–

,

,

–

,

,

,

–

,

,

see also

self-reflection

self-expansion

,

–

,

–

,

,

–

,

,

–

,

–

,

see also

ethics of self-expansion

self-exploration

–

self-fashioning

self-formation

,

–

self-help

–

,

,

self-improvement

,

,

selfism

self-knowledge

,

–

,

–

,

–

,

,

as value of transformation

,

,

–

,

,

,

of film

–

selflessness / self-lessening

–

,

,

–

,

,

,

–

,

self-liberation

–

self-loss

,

,

,

self-mastery

–

,

self-preservation

–

self-questioning

–

,

,

–

,

self-reflection

,

–

as condition for film as philosophy

,

,

–

,

as technique of transformation

–

,

,

,

,

,

–

film experience and

–

,

–

,

–

viewer, elicited from

,

,

,

–

,

–

,

–

,

–

,

,

–

,

,

–

,

–

see also

film as philosophy

self-reflexivity see

reflexivity

self-restraint

–

,

–

,

,

,

,

–

self-shattering

,

,

–

,

,

self-surrender (or submission)

–

,

–

self-therapy

retail therapy

,

self-transcendence

,

–

see also

ecstasy

self-transformation see

transformational ethics

self-undermining

self-understanding

–

,

self-undoing

–

,

,

,

–

self-violence

,

,

self-work

,

–

,

–

,

of the viewer

,

,

,

,

,

–

,

–

,

–

,

,

,

–

,

–

,

–

,

–

,

–

see also

preparatory ethics

Sellars, John

–

Seneca

,

senses / sensory / sensation

–

,

,

–

,

–

,

–

,

–

,

–

,

–

,

see also

perception

;

‘Sense Your Senses’

as domain of transformation

,

–

,

–

,

–

education of

–

hierarchies of

integration (or unity) of

–

sensorium

,

–

sensitivity / sensitive / sensitize

,

,

–

‘Sense Your Senses’ (ethical slogan)

,

–

,

–

,

–

,

–

,

,

–

see also

transformational ethics of film

Serene Velocity (film)

sex

,

–

,

–

tantric

violence and

–

Shaftesbury (Anthony Ashley Cooper)

–

Shaw, Dan

‘shock to thought’ (Eisenstein / Deleuze)

,

–

,

–

,

,

,

–

,

shoshin (Zen Buddhism)

showing vs. telling

–

,

,

,

,

–

Shusterman, Richard

Silberman, Robert

–

,

,

silence

–

,

–

,

–

as technique of transformation

–

,

–

silent cinema

–

silent film viewing

Siles i Borràs, Joaquim

Silicon Valley

–

singularity

–

,

–

see also

individuality

as value of transformation

–

Sinnerbrink, Robert

,

,

,

,

,

–

,

–

,

,

,

,

,

,

–

,

–

,

–

,

,

–

,

,

–

,

,

,

–

,

–

,

Deleuzian influences on

–

,

–

Heideggerian influences on

–

,

–

on cinematic thinking

–

,

,

,

–

,

–

on cinematic thinking provoking (or forcing) thought

,

,

,

–

,

–

,

–

,

on cinematic thinking resisting philosophy

–

,

–

,

–

,

,

,

–

,

–

,

–

on cinematic thinking transforming philosophy

–

,

–

,

–

,

,

,

–

on need for philosophical film criticism

–

,

–

on need for receptivity (or openness) to film

,

–

,

,

–

‘philosophical disenfranchisement of film’

–

,

‘romantic film-philosophy’

,

,

–

Skees, Murray

–

skepticism

–

,

–

,

–

Cavell on

–

,

–

,

–

,

,

exercise of

–

see also

spiritual exercises

skepticism films

–

,

slogan

,

–

,

,

,

,

,

,

–

,

,

see also

‘Blow Your Mind’

;

bumper sticker

;

‘Expand Your Mind’

;

‘Know Yourself’

;

‘Lose Your Self’

;

‘Remind Yourself’

;

‘Sense Your Senses

Sloterdijk, Peter

–

slow cinema

,

–

,

–

,

Smith, Murray

,

Sobchack, Vivian

,

–

,

,

,

–

,

,

–

,

–

,

–

,

,

–

,

–

,

–

,

,

,

,

–

criticism of

,

on Blue (film)

–

,

–

on film (as) phenomenology

–

,

on Husserl

–

,

on Merleau-Ponty

on phenomenological practice and method

–

,

on synaesthesia

,

–

on The Piano (film)

shared structures of experience between viewer and film

–

,

–

,

–

,

,

–

,

,

–

Socrates

,

,

,

,

on ‘Know Yourself’

,

,

,

–

social movements

–

,

–

,

society

as basic condition (context, motive) for film as philosophy

–

as inescapable horizon

as macromotive (Visagie)

resistance to

,

social community

social interaction

–

,

–

socio-cultural aspects of film

–

,

socio-cultural aspects of transformational ethics

,

,

–

sociology

–

meta-theory of

–

solitude

–

,

–

,

,

soul

,

,

,

,

,

–

sound

,

,

–

diegetic sound

–

,

–

image and

,

,

–

space

,

–

,

,

of thought (Mulhall)

–

,

filmic space

,

–

,

,

interior space

spectator see

film spectatorship

;

viewer

speed, culture of

–

spirit / spiritual

–

,

,

–

,

–

,

,

,

–

spirituality

–

,

–

,

–

Foucault on

–

practices of

–

,

–

spiritual exercise

,

,

–

,

–

,

see also

Hadot, Pierre

;

techniques of transformation

Stadler, Jane

Steadicam

–

stereotype

,

–

Stoicism

,

–

,

–

,

,

,

,

story

,

–

,

,

,

–

see also

narrative

striving (Heidegger)

–

style see

film style

subjectivity see also

self, the

affirmation of

,

–

,

–

,

–

,

,

–

against

,

,

–

,

–

,

–

,

–

,

–

,

,

–

,

,

–

,

,

–

anonymous subject

,

as basic condition (context, motive) for film as philosophy

–

,

–

,

,

,

–

,

–

,

,

–

,

–

,

,

–

,

,

–

see also

film as philosophy

as domain of transformation

,

–

,

,

,

,

–

,

,

–

,

–

,

,

–

,

,

–

,

–

condition of

–

,

,

,

decentering of

,

–

dispersal of

,

–

,

,

–

ethical subject

overcoming (or escape) of

–

,

–

,

,

–

,

–

,

–

,

–

,

–

,

,

–

,

,

,

–

see also

connectedness

desubjectivized / desubjectivization

–

,

,

–

,

,

,

film as subject

–

,

,

–

individual subjectivity

–

,

–

,

–

,

,

,

–

,

–

,

,

–

,

–

,

lessening of

see also

self-lessening

model subject

negation (dismantling, undoing) of

–

,

–

,

–

,

–

,

,

–

,

–

,

–

negative subject

subjective agency of film

–

,

,

–

,

–

,

subjective isolation

,

–

,

–

,

–

‘Subject-Self’ metaphor (Lakoff & Johnson)

transcendental subject

,

–

transformation of

–

,

see also

personal transformation

;

transformational ethics

truth and

–

,

–

vis-à-vis objectivity

,

,

,

,

,

,

–

,

,

–

,

,

,

,

–

,

,

voice-over and

–

sublime / sublimity

,

,

,

–

suffering

,

–

Sunset Boulevard (film)

–

,

–

,

Norma Desmond (character)

–

Supercinema (Brown)

supercinema (Brown)

,

see also

digital cinema

Superman

suspicion

hermeneutics of

–

,

,

–

sympathy

,

Symposium (Plato)

synaesthesia

–

Tales of Power (Castaneda)

Talk to Her (film)

Taoism

–

Tarkovsky, Andrei (filmmaker)

,

Taylor, Charles

‘Technē and Poiēsis: On Heidegger and Film Theory’ (Sinnerbrink)

technicism

–

,

–

,

technicist rhetoric

–

,

technique of transformation

,

,

–

,

,

–

,

–

,

,

,

–

,

–

,

–

,

,

–

,

,

,

–

,

–

,

,

modal aspects of

,

–

,

art-making as

–

,

chastity as

–

complex of techniques

confession as

–

connections between techniques

contemplation as

,

–

,

,

–

,

–

,

–

,

–

,

,

,

,

,

–

,

–

,

–

,

,

–

daily routine and

–

dialogue as

–

,

–

,

–

diet as

–

dressing, ways of

–

drugs, taking

–

,

–

,

,

–

,

,

,

–

exercising as

–

,

–

,

extreme experiences as

fasting

–

fighting as

–

,

–

,

–

,

–

,

filmmaking practices and

,

film viewing as see

transformational ethics of film

friendship as

,

–

giving up things as

–

,

,

–

,

,

–

,

–

see also

releasement

helping others as

see also

ministering

philosophy, inherent to

,

,

–

,

–

,

,

–

,

,

meditation as

,

–

,

–

,

,

–

,

,

–

prayer as

reading as

,

–

,

–

,

,

reverie as

self-reflection as

–

,

,

,

,

,

–

self-examination as

,

–

,

,

–

,

,

,

–

,

,

sex as

,

–

,

–

,

–

silence as

solitude as

–

,

–

,

suffering difficulty (discomfort, hardship) as

,

teaching as

,

,

–

test-taking as

,

,

–

,

–

,

theory / theoretical reflection as

–

walking as

–

,

–

writing as

,

–

,

–

,

–

,

–

,

,

technology / technological

–

,

–

,

–

,

of the self

,

–

digital technology

–

television

,

telos

ethical telos

–

,

,

teleology

temperance

as goal of transformation

as mode of transformation

,

temptation

–

,

–

,

–

theatre

The Cinema of Terrence Malick: Poetic Visions of America (Patterson)

The Conformist (film)

The Death and Return of the Author (Burke)

The Essence of Reasons (Heidegger)

The Game (film)

‘The Good of Film’ (Cavell)

–

The Hermeneutics of the Subject (Foucault)

The Lives of Michel Foucault (Macey)

The Matrix (film)

–

,

–

,

–

,

,

The New World (film)

–

,

,

,

,

,

,

–

,

The Passion of Michel Foucault (Miller)

The Philadelphia Story (film)

–

The Piano (film)

theology / theological

,

–

negative theology

–

,

theory / theoretical reflection

–

,

–

as technique (or practice) of transformation

–

‘descriptive theory’ vs. ‘explanatory theory’

,

first-order vs. second-order

–

,

,

,

–

see also

meta-theory

development of

,

–

personal transformation and

–

pre-theoretical commitment

,

–

,

–

theoria

Theory of Film: The Redemption of Physical Reality (Kracauer)

,

therapy

,

retail therapy

,

self-therapy

therapeutic philosophy

–

,

–

The Tango Lesson (film)

–

The Thin Red Line (film)

–

,

,

–

,

–

,

–

,

,

–

,

–

Private Witt (character)

–

,

–

,

,

,

–

,

–

Sergeant Welsh (character)

–

,

Thompson, Evan

Thoreau, Henry David

–

thought / thinking see also

philosophical thinking

;

cinematic thinking

as domain of transformation

,

–

,

,

–

,

,

,

–

,

–

,

–

,

–

,

–

,

–

,

–

ecstatic thinking

–

,

,

see also

mysticism

mixtures of (Frampton)

–

overcoming limitations of

,

,

–

,

–

,

–

,

,

–

,

see also

mysticism

space of (Mulhall)

–

,

style of

–

thinking in images

–

,

–

,

–

thinking the new

–

,

–

,

,

,

–

,

,

–

,

–

,

–

,

–

,

–

,

,

thinking the outside

,

,

,

–

‘unthought within thought’ (Deleuze)

,

–

viewer, elicited in

,

,

,

–

,

–

,

,

,

,

,

–

,

–

,

–

,

–

,

–

,

–

,

–

,

,

–

,

,

–

,

,

–

,

–

walking and

–

ways of

–

,

–

,

–

,

,

,

–

,

–

,

,

–

,

–

,

–

see also

perspective

thought experiment,

,

,

–

,

–

,

–

as condition for film as philosophy

,

,

–

,

,

film as thought experiment

,

,

–

,

–

,

,

–

see also

film as philosophy

Thoughts and Things (Bersani)

–

time-image (Deleuze)

topos / topoi

–

,

–

,

,

atopos

meta-hermeneutics and

–

modes of transformation as

,

–

,

–

,

transformationalist topoi

–

,

–

Total Recall (film)

To the Wonder (film)

,

,

touch / tactile

,

transcendence

,

,

–

,

–

,

,

–

,

–

,

–

,

–

,

,

see also

mysticism

against

,

,

as transformational work of film

,

,

,

,

,

–

film style and see

transcendental style

self-transcendence

,

–

transcendence of language

–

transcendental subject

,

–

transcendental style (Schrader)

–

transformational ethics

–

,

,

,

–

,

–

,

,

,

–

,

–

,

–

,

–

,

,

–

,

–

against critical-ideological conception of

–

against individualistic (or solipsistic) conception of

,

–

,

–

aid (or help) in

,

–

,

see also

ministering

aims (or goals) of see

values of transformation

analytical frames (or dimensions) of

,

–

see also

technique of transformation

;

mode of transformation

;

domain of transformation

;

values of transformation

;

paradigm of transformation

art and

–

as meta-theoretical perspective

–

,

,

–

,

–

,

–

,

as model for interpretative stances

–

as ‘descriptive theory’ vs. ‘explanatory theory’

,

as discourse

,

,

contemporary forms and contexts

–

critical reservations about

–

,

,

–

,

–

,

–

definition of

distinction between motive, ethic, practice

,

see also

technique of transformation

;

personal transformation

elitist (or exclusivist) tendencies of

–

,

–

,

–

,

film and see

transformational ethics of film

Foucault’s ethics, compared with

–

,

–

,

,

–

,

–

guiding texts (or manuals) for

,

–

,

,

–

,

,

historical particularity (situatedness, variability) of

–

,

,

–

ideological tendencies of

–

,

–

,

idealism / idealization in

–

,

–

,

–

,

–

,

,

moral perfectionism and

normative assumptions in

–

,

Other, the, and

practical vs. theoretical discourse of

–

,

socio-cultural aspects of

,

,

–

transformationalism

–

,

–

,

–

,

universality of

,

–

see also

personal transformation

Visagie on see

Visagie, Johann

Visagie’s theory, analytical affordances (benefits, uses) of

,

,

,

,

–

Visagie’s theory, criticism of

–

,

–

Visagie’s theory, elaboration of

,

–

,

–

Visagie’s theory, generative grammar as model for

vs. transformative experience

,

Transformational Ethics: The Structures of Self-Creation (Visagie)

–

transformational ethics of film

–

,

–

,

–

,

–

,

,

,

–

,

–

,

–

,

–

,

–

,

,

–

,

–

analytical framework for

–

,

–

,

,

,

–

,

–

,

as research program

,

–

biases about in film as philosophy

–

contribution to film analysis and interpretation

–

,

–

contribution to film as philosophy

–

,

,

–

contribution to film ethics

–

,

–

critical imagining (or envisioning) of

–

,

,

–

,

–

,

,

,

–

,

–

,

–

,

,

,

,

,

–

,

–

,

–

critical reservations about

–

domains of transformation in

,

see also

domain of transformation

first-order vs. second-order

,

modes of transformation in

,

see also

modes of transformation

paradigms of transformation in

see also

paradigm of transformation

preparation in see

preparatory ethics

techniques of transformation in

see also

techniques of transformation

temporal dimensions of

–

types (forms, guises, strands) of

–

,

,

,

,

,

–

,

–

,

–

,

,

,

see also

‘Blow Your Mind’

;

‘Expand Your Mind’

;

‘Know Yourself’

;

‘Lose Your Self’

;

‘Remind Yourself’

;

‘Sense Your Senses’

values of transformation in

,

see also

values of transformation

trans-humanism

–

see also

non-human

;

posthumanism

travelling concept

,

Trifonova, Temenuga

trope

–

,

–

,

–

truth

,

,

,

–

,

–

as value of transformation

,

being true to oneself

necessary truth

subjectivity and

–

,

–

suppressed (or repressed, dormant) truths

–

Tsai Ming-liang (filmmaker)

–

Tucker, Thomas Deane

,

,

Turvey, Malcolm

–

,

–

,

–

,

–

twist film

–

,

,

–

,

,

,

see also

complex cinema

;

narrative twist

understanding

–

,

,

–

as domain of transformation

emotional understanding

horizon of

moral understanding

–

self-understanding

–

,

vs. knowledge

–

unity

as value of transformation

–

,

–

,

,

,

–

,

,

–

,

,

–

,

,

–

,

of film experience

–

unitive experience

,

–

unity of thought

with nature

,

–

,

–

,

–

,

–

,

,

–

,

–

,

–

,

viewer’s uniting (or fusion) with film (Frampton; Deleuze)

–

,

–

,

Utilitarianism

–

value see also

good, the

;

values

of art

of film (or viewing film)

,

–

,

,

–

,

–

,

,

,

–

,

–

,

–

,

–

,

–

,

of philosophy

,

,

–

,

–

issues (or questions) of

,

value-attribution

–

,

,

,

–

,

,

value-laden conceptions and interpretations

–

,

,

–

,

,

–

,

–

values

–

,

–

ethical value(s)

,

,

,

,

–

,

,

,

–

,

,

ethical value(s) of art

,

aesthetic value(s)

,

cognitive value(s)

,

,

,

meta-hermeneutics and

–

human value(s)

–

philosophical value(s)

,

–

,

–

,

–

,

,

,

,

,

,

,

–

,

–

social value(s)

transformational ethics and see

values of transformation

values of transformation

,

–

,

,

,

,

,

,

,

,

–

,

–

,

,

–

,

,

,

,

,

,

–

,

,

–

,

–

,

–

,

–

,

–

,

authenticity as

,

,

–

,

–

awareness as

,

,

,

–

,

–

,

–

,

–

,

–

,

–

,

,

–

,

–

,

,

–

,

–

,

,

–

,

,

–

,

–

,

–

,

attention / attentiveness as

,

,

–

,

–

,

,

–

,

–

,

–

beauty as

,

becoming as

,

–

,

,

, –

,

–

,

,

change (or flux) as

–

,

–

,

–

,

,

clarity as

–

connections between values

–

connection / connectedness as

,

,

–

,

–

,

,

–

,

–

,

–

,

–

,

,

–

difference as

,

–

emptiness as

freedom as

–

,

,

–

,

–

fullness as

,

–

,

–

,

–

goodness as

–

happiness as

,

ideological (bad, perverted) values

–

index of standard values (Visagie)

individuality as

,

,

–

insight as

,

–

,

,

–

knowledge as

,

,

,

openness as

,

,

–

,

–

,

,

–

,

–

,

–

,

,

–

,

–

,

,

–

,

–

,

,

–

,

–

,

open-ended values (or aims)

,

–

,

–

,

,

perfection as

,

–

presence as

,

,

receptivity as

,

,

,

–

,

–

,

–

,

–

,

–

,

social values as

serenity (or calmness, peace, tranquility) as

,

–

,

–

,

–

,

–

simplicity as

truth (or truthfulness) as see

truth

unity (integratedness, oneness, wholeness) as

–

,

–

,

,

,

–

,

,

–

,

,

–

,

,

–

,

wisdom as

–

,

,

–

,

–

Van Maanen, Hans

Van Reenen, Dionne

–

Varela, Francisco J.

vegetarianism

verbal discourse

–

,

,

,

–

,

–

,

–

,

–

see also

words

verbal-visual interaction

–

,

–

Vertigo (film)

Vertov, Dziga

–

,

–

,

,

–

Vice, Samantha

viewer

active vs. passive viewer

–

,

affective exchanges with film (Del Río)

–

,

–

,

body of see

embodiment

classes of

–

everyday (ordinary, lay) viewer

–

,

,

,

–

experience of see

film experience

fictional characters, relation to

,

–

,

–

ideal attitude of

,

–

,

–

,

,

–

,

–

,

–

,

–

,

,

–

,

–

,

,

see also

preparatory ethics

implied viewer

–

,

–

initiative of

–

model viewer see

model viewer

memory and

–

passivity of

–

,

philosopher-viewer

,

–

,

,

–

,

,

philosophical proficiency of

–

positioning of

post-viewing experience of

–

preparedness of see

preparatory ethics

self-reflection and

,

,

,

–

,

–

,

–

,

–

,

,

–

,

,

–

,

–

self-work of

,

,

,

,

–

,

–

,

–

,

–

,

–

,

–

see also

preparatory ethics

shared structures of experience (or continuity) with film (Sobchack)

–

,

–

,

–

,

,

–

,

,

–

solitary viewer

–

thinking and see

philosophical thinking

;

thinking

uniting (or fusion) with film (Frampton; Deleuze)

–

,

–

,

transformation of see

transformational ethics of film

‘view from above’ (Hadot)

violence

–

,

,

,

–

against self

,

–

metaphor of

–

of interpretation

sexual violence

–

transformational violence

,

–

Virvidaki, Katerina

–

,

,

Visagie, Johann

–

,

,

–

,

,

,

,

–

,

–

,

,

–

,

–

background to theory of transformational ethics

Chomskyan generative grammar as influence on

comparison with Foucault’s ethics

–

,

–

,

,

–

,

–

criticism of

,

–

‘discourse archaeology’

‘macromotives’

,

–

,

on personal transformation

–

see also

motive of personal transformation

on classical values of transformation

on ethics (or practices) of self-transformation

–

see also

transformational ethics

on ideological transformationalism

–

,

–

,

–

vision (or sight)

–

,

–

,

–

,

–

,

,

–

,

–

see also

perspective

;

showing vs. telling

aspect-seeing (Wittgenstein)

–

hegemony of

transformation of

–

,

–

,

,

,

,

,

–

voice

–

,

,

–

,

,

–

see also

voice-over

as subjectivizing device

–

voice actor

voicing meaning

–

voice-over,

,

–

,

,

,

–

,

–

,

,

–

,

–

,

,

–

,

see also

showing vs. telling

Von Trier, Lars (filmmaker)

,

,

,

,

–

voyeurism

Wagner, Richard (composer)

Walden, Elizabeth

–

,

Walon, Sophie

Waking Life (film)

walking

–

as technique of transformation

–

,

–

as theme in film studies

Terrence Malick and

–

war film

,

Wartenberg, Thomas

,

,

,

,

,

–

,

–

,

–

,

,

–

,

–

methodological characterization of philosophy

moderate thesis of

on degrees of film as philosophy

on film as thought experiment

–

,

–

on skepticism and the deception hypothesis

–

,

–

on The Matrix

–

ways of seeing see

perspective

Wilson, George

–

,

withholding see also

asceticism

as transformational work of film

,

,

,

,

–

,

–

,

–

Wittgenstein (film)

Wittgenstein, Ludwig

–

,

–

Westwell, Guy

Wheatley, Catherine

Wilde, Oscar

Wilder, Billy (filmmaker)

–

Willemsen, Steven

Wilken, Steve

wonder

,

,

,

,

–

,

–

words

,

–

,

–

,

see also

verbal discourse

vs. images

–

,

,

–

world

cinematic / film world

–

,

–

,

–

,

,

–

,

–

,

–

diegetic (or narrative) world

fictional (or imaginary) world

–

,

,

social world

visual world

world-disclosure

–

,

,

,

–

,

–

,

–

,

aesthetic world-disclosure

–

cinematic world-disclosure

–

,

–

of nature

–

poetic disclosure

worldview

–

,

–

,

see also

perspective

writing

as technique (or practice) of self-transformation

,

–

,

–

,

–

,

–

,

,

writer

written text

,

,

X-Men (film series)

Yates, Christopher

Young, Iris Marion

Young, Neil

Zen Buddhism

Zhao, Shanyang

–

Žižek, Slavoj

–

,

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Transformational Ethics of Film

Thinking the Cinemakeover in the Film-Philosophy Debate

Series: Value Inquiry Book Series, Volume: 365 and Philosophy of Film, Volume: 365

Cover Transformational Ethics of Film

E-Book ISBN:: 9789004460874

Publisher:: Brill

Print Publication Date:: 18 May 2021

Subjects
- Literature and Cultural Studies
  - Criticism & Theory
- Philosophy
  - Aesthetics & Cultural Theory
  - Ethics & Moral Philosophy

Front Matter

Back Matter

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