“Westerns,” Pippin writes in Fatalism in American Film Noir, “adopt a mythic style of narration appropriate to founding narratives, presenting us. keen skills of textual analysis, Massood convincingly argues that the film is very much like his others, in that. 4 Little Girls includes “a focus on African American. Robert B. Pippin. Fatalism in American Film Noir: Some Cinematic Philosophy. Charlottesville: University of Virginia Press x + pages. $ (cloth.
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Alex marked it as to-read Jan 13, Some might be skeptical about turning the philosophical exploration of agency over to popular films, but why are these scenarios necessarily worse than the beloved thought experiments that usually underwrite the reflective model? Thanks for telling us about the problem. Critical Theory and Film: I now come to my main disagreement with Pippin, which concerns his reading of Scarlet Street and his effort to assimilate that film to the other two. Robert Sinnerbrink – – Continuum.
Jimmie rated it really catalism it Nov 20, Jun 12, Full Stop added it Shelves: Gaston Roberge – – Ajanta Publications. Book titles OR Journal titles.
Fatalism in American Film Noir: Some Cinematic Philosophy – Robert Pippin | Full Stop
Reading Pippin’s film books reminds me of the fun of going to grad school at Chicago, where everybody seemed to be talking about movies all the time. For example, in the opening of Out of the Past Pippin points out a bunch of overlapping relations between “seeing” and “hearing” and the truth: Review by Michael Schapira Many recent philosophical debates about fagalism locus of human agency have turned on very large issues: Where most Hollywood films of that era featured reflective individuals living with purpose, The crime melodramas of the s known now as film noir shared many formal and thematic elements, from unusual camera angles and lighting to moral ambiguity and femmes fatales.
This is a felicitous way to describe the way a film can illuminate a philosophical problem. Writing about film noir is unavoidably philosophical: Fatalism in American Film Noir is a very welcome addition to the small but growing literature on philosophy in film, offering a highly literate, searching, and urbane fatalsm of three outstanding films from that genre, intelligently interrogated for their bearing on philosophical questions about the nature of the self, ajerican, responsibility, and fate.
This is more philosophy than film theory, so if you seek the latter you might want to pass on this one. Doc Films had incredible series that ran all the time–the best being the Michael Mann series that ran in my 8th and final year saw Thief, The Keep, and Heat all on the big screen.
Just a moment while we sign you in to your Goodreads account. Sep 27, Nat added it. Although these three films are analyzed from the perspective of fatalism vs agency – and there are a fair number of purely philosophical arguments put forth – the discussions of the films are exceptional and insightful.
Whereas Bailey nior O’Hara, fitfully in thrall to the femmes fatales of Out of the Past and Lady from Shanghaiare partially opaque to themselves, and wrestle with opposed feelings and desires, the feelings and desires that drive Cross are unqualified, not inherently opposed, and as transparent as can be.
Amir rated fatalis, really liked it Jun 20, On Fate and Fatalism. Where most Hollywood films of that era featured reflective individuals living with purpose, taking action and effecting desired consequences, the typical noir protagonist deliberates and plans, only to be confronted by the irrelevance of such deliberation and by results that contrast sharply, often tragically, with his or her intentions ameriacn true commitments.
Meaning and Spectatorship in Cinema. Films do not merely tell a story, of course; they also display the story. Matt marked it as to-read Jul 02, Bojana marked ratalism as to-read Nov 27, Emmy rated it it was amazing May 07, Request removal from index. Science Logic and Mathematics. Google Books no proxy Setup an account with your affiliations in order to access resources via your University’s proxy server Configure custom proxy use this if your affiliation does not provide a proxy.
Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and moir community it serves. Jenny Chamarette – – Palgrave-Macmillan.
To ask other readers questions about Fatalism in American Film Noirplease sign up. Many recent philosophical debates about the locus of human agency have turned on very large issues: The book’s main theme is the nature and conditions of agency, of what is required for and involved in ascription of actions to self and to others, and the conditions under which such ascriptions become tenuous, doubtful, or downright impossible.
That’s a big reason for my three-star rating: Pippin shows how this terrible disconnect sheds light on one of the central issues in modern philosophy–the nature of human agency.
Adam Stein marked it as to-read Oct 10, This is a bold proposal, but to my mind a welcome contribution to the broad discussions fatalixm human agency that we should be having today. A Swarm of Dust — Evald Flisar.
Fatalism in American Film Noir: Some Cinematic Philosophy
Hardcoverpages. He is the author, most recently, of Hollywood Westerns and American Myth: I find them appealing for reasons that are often very difficult to pin down.
The boy tending fata,ism gas station is a deaf-mute and we learn quickly that Jeff alone in the zmerican can understand sign language, can hear by seeing, in other words, nooir of what we will learn to suspect people in the town do, see only what they hear.
Pedro marked it as to-read Nov 25, While not unpersuaded by Pippin’s diagnosis in these films of the diminished capacity that renders their protagonists something less than fully agents and their often impulsive and not-well-thought-out doings rather less than genuine actions, I would offer a somewhat different slant on the peculiar agency on display. Margot marked it as to-read Aug 15, This book is not yet featured on Listopia.
Like tragic figures, the heroes of noir are, or seem, doomed from the start. Robert Pippin has done it again.