Stanley Cavell and his contribution to the philosophical treatment of american cinema (Doctoral thesis)
This paper attempts to access cinema through the philosophical perspective, both trying to detect its eventual philosophical or non-philosophical implications, as well as making use of the analytical tools of the field of film philosophy. The paper attempts to propose a concrete method of film analysis, an analysis based on Stanley Cavell, and secondarily on Wittgenstein, Austin, Quine and Derrida. First, the paper attempts to define cinema philosophically using the thought of Cavell and Derrida. Furthermore the paper tries to find the relationship between cinematic, philosophical and artistic indeterminacy as well as the relationship between epistemological and film realism. It also analyses Kubrick‟s Eyes Wide Shut using the concept of Cavell‟s acknowledgement and examines the function of Wittgenstein language games in cinema, especially in Dogtooth of Yorgos Lanthimos. Finally, the paper refers to the changes that happen and will happen to the cinema due to the new technologies. In conclusion, the philosophy of cinema does not seem to be restricted to itself. This field has a lot to teach us both in terms of art and philosophy: 1) the concept of Cavell's acknowledgement can be used both in theater and cinema as well as in every possible scriptural or literary plot , 2) the influence that philosophical thinking can have on the arts is a sufficiently wide field that should be sought in the field of Greek art with a springboard of the philosophy of cinema, 3) we must talk about the power of the cinematographic image, not only in the context of its impressiveness and verisimilitude, but of how it can now project philosophical ideas or situations which may have philosophical implications - in this case philosophy itself benefits because through cinema you can indicate a philosophical concept; 4) the concept of revealing the world of everyday life through cinema can serve but also establish scientifically many of the arts that happen at neighborhood and community level and involve an artistic action with community-based projects; 5) the discovery of everyday life through cinema as Cavell portrays is a opportunity to reconstitute the relationship of the individual with himself, with others, with his world, with his speech, 6) all the above may reveal to himself unknown aspects of himself and of others 7) cinema puts us, finally, before our actions and is essentially a highly self-awareness art.
|Alternative title / Subtitle:||ερμηνευτικές προσεγγίσεις και κριτική|
interpretive approaches and criticism
|Institution and School/Department of submitter:||Πανεπιστήμιο Ιωαννίνων. Φιλοσοφική Σχολή. Τμήμα Φιλοσοφίας, Παιδαγωγικής και Ψυχολογίας|
|Subject classification:||Cavell, Stanley, 1926-|
|Keywords:||Κινηματογράφος,φιλοσοφία,θεωρία του κινηματογράφου,ρεαλισμός,Στάνλεϊ Καβέλ,Ζακ Ντεριντά,Λούντβιχ Βιτγκενστάιν,Τζον Ώστιν,προσδιοριστία,γλωσσικά παίγνια,ολογράμματα,νέες τεχνολογίες,φιλοσοφία του κινηματογράφου,επαναγνώριση,Θεόδωρος Αγγελόπουλος,Ρένος Χαραλαμπίδης,Στάνλεϊ Κιούμπρικ,Γιώργος Λάνθιμος,cinema,philosophy,film theory,Stanley cavell,Jacques derrida,Ludwig wittgenstein,John austin,realism,indeterminacy,language games,holograms,new technologies,film philosophy,acknwolegment,Theodoros angelopoulos,Renos charalampidis,Stanley kubrick,Yorgos lanthimos|
|Appears in Collections:||Διδακτορικές Διατριβές|
Files in This Item:
|Δ.Δ. ΣΑΡΑΦΙΑΝΟΣ ΝΙΚΟΛΑΟΣ 2019.pdf||1.9 MB||Adobe PDF||View/Open|
Please use this identifier to cite or link to this item:This item is a favorite for 0 people.
Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.