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03899aam a2200409 i 4500 001 C9C16C9468DD11EA9C5A9E4D97128E48 003 SILO 005 20200318010024 008 190318t20202020ilua b 001 0 eng c 010 $a 2019014786 020 $a 022667200X 020 $a 9780226672007 020 $a 022667195X 020 $a 9780226671956 035 $a (OCoLC)1100425800 040 $a YUS $b eng $e rda $c YUS $d OCLCO $d ISS $d BBW $d OCLCQ $d BBW $d SILO 042 $a pcc 043 $a n-us--- 050 04 $a PN1993.5.U6 $b P57 2020 082 00 $a 791.430973 $2 23 100 1 $a Pippin, Robert B., $d 1948- $e author. 245 10 $a Filmed thought : $b cinema as reflective form / $c Robert B. Pippin. 264 1 $a Chicago : $b The University of Chicago Press, $c [2020] 300 $a 271 pages : $b illustrations ; $c 23 cm 520 $a With the rise of review sites and social media, films today, as soon as they are shown, immediately become the topic of debates on their merits not only as entertainment, but also as serious forms of artistic expression. Philosopher Robert B. Pippin, however, wants us to consider a more radical proposition: film as thought, as a reflective form. Pippin explores this idea through a series of perceptive analyses of cinematic masterpieces, revealing how films can illuminate, in a concrete manner, core features and problems of shared human life. Filmed Thought examines questions of morality in AlmodoÌvar's Talk to Her, goodness and naiÌveteÌ in Hitchcock's Shadow of a Doubt, love and fantasy in Sirk's All That Heaven Allows, politics and society in Polanski's Chinatown and Malick's The Thin Red Line, and self-understanding and understanding others in Nicholas Ray's In a Lonely Place and in the Dardennes brothers' oeuvre. In each reading, Pippin pays close attention to what makes these films exceptional as technical works of art (paying special attention to the role of cinematic irony) and as intellectual and philosophical achievements. Throughout, he shows how films offer a view of basic problems of human agency from the inside and allow viewers to think with and through them. Captivating and insightful, Filmed Thought shows us what it means to take cinema seriously not just as art, but as thought, and how this medium provides a singular form of reflection on what it is to be human. 504 $a Includes bibliographical references (pages 259-264) and index. 505 00 $g Section V $t Psychology degree zero? the representation of action in the films of the Dardenne Brothers. $t Cinematic reflection -- $t Cinematic self-consciousness in Alfred Hitchcock's Rear Window -- $t Moral variations -- $g Section II $t Moral variations -- $t Devils and angels in Pedro AlmodoÌvar's Talk to Her -- $t Confounding morality in Alfred Hitchcock's Shadow of a Doubt -- $g Section III $t Social pathologies -- $t Cinematic tone in Roman Polanski's Chinatown: can "life" itself be "false"? ; $t Love and class in Douglas Sirk's All That Heaven Allows -- $g Section IV $t Irony and mutuality -- $t Cinematic irony: the strange case of Nicholas Ray's Johnny Guitar -- $t Passive and active skepticism in Nicholas Ray's In a Lonely Place -- $g Section V $t Agency and meaning -- $t Vernacular metaphysics: on Terrence Malick's The Thin Red Line -- $t Psychology degree zero? the representation of action in the films of the Dardenne Brothers. 650 0 $a Motion pictures $z United States $x History and criticism. 650 0 $a Motion pictures $x Aesthetics. 650 7 $a Motion pictures. $2 fast $0 (OCoLC)fst01027285 650 7 $a Motion pictures $x Aesthetics. $2 fast $0 (OCoLC)fst01027288 651 7 $a United States. $2 fast $0 (OCoLC)fst01204155 655 7 $a Criticism, interpretation, etc. $2 fast $0 (OCoLC)fst01411635 941 $a 2 952 $l OVUX522 $d 20220317014344.0 952 $l USUX851 $d 20210304014214.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=C9C16C9468DD11EA9C5A9E4D97128E48Initiate Another SILO Locator Search