Film noir reflects the fatalistic themes and visual style of hard-boiled novelists and many émigré filmmakers in 1940s and 1950s America, emphasizing crime, alienation, and moral ambiguity. In The Philosophy of TV Noir, Steven M. Sanders and Aeon J. Skoble argue that the legacy of film noir classics such as The Maltese Falcon, Kiss Me Deadly, and The Big Sleep is also found in episodic television from the mid-1950s to the present. In this first-of-its-kind collection, contributors from philosophy, film studies, and literature raise fundamental questions about the human predicament, giving this unique volume its moral resonance and demonstrating why television noir deserves our attention. The introduction traces the development of TV noir and provides an overview and evaluation of the book's thirteen essays, each of which discusses an exemplary TV noir series. Realism, relativism, and integrity are discussed in essays on Dragnet, Naked City, The Fugitive, and Secret Agent. Existentialist themes of authenticity, nihilism, and the search for life's meaning are addressed in essays on Miami Vice, The Sopranos, Carnivale, and 24. The methods of crime scene investigation in The X-Files and CSI are examined, followed by an exploration of autonomy, selfhood, and interpretation in The Prisoner, Twin Peaks, The X-Files, and Millennium. With this focus on the philosophical dimensions of crime, espionage, and science fiction series, The Philosophy of TV Noir draws out the full implications of film noir and establishes TV noir as an art form in its own right.
Fifteen philosophers representuing different schools of thought answer the question what is Woody Allen trying to say in his films? And why should anyone care? Focusing on different works and varied aspects of Allen's multifaceted output, these essays explore the philosophical undertones of Anne Hall, Crimes and Misdemeanors, Manhattan, A Midsummer Night's Sex Comedy and reminds us that just because the universe is meaningless and life is pointless is no reason to commit suicide.
Film noir reflects the fatalistic themes and visual style of hard-boiled novelists and many émigré filmmakers in 1940s and 1950s America, emphasizing crime, alienation, and moral ambiguity. In The Philosophy of TV Noir, Steven M. Sanders and Aeon J. Skoble argue that the legacy of film noir classics such as The Maltese Falcon, Kiss Me Deadly, and The Big Sleep is also found in episodic television from the mid-1950s to the present. In this first-of-its-kind collection, contributors from philosophy, film studies, and literature raise fundamental questions about the human predicament, giving this unique volume its moral resonance and demonstrating why television noir deserves our attention. The introduction traces the development of TV noir and provides an overview and evaluation of the book's thirteen essays, each of which discusses an exemplary TV noir series. Realism, relativism, and integrity are discussed in essays on Dragnet, Naked City, The Fugitive, and Secret Agent. Existentialist themes of authenticity, nihilism, and the search for life's meaning are addressed in essays on Miami Vice, The Sopranos, Carnivale, and 24. The methods of crime scene investigation in The X-Files and CSI are examined, followed by an exploration of autonomy, selfhood, and interpretation in The Prisoner, Twin Peaks, The X-Files, and Millennium. With this focus on the philosophical dimensions of crime, espionage, and science fiction series, The Philosophy of TV Noir draws out the full implications of film noir and establishes TV noir as an art form in its own right.
The Simpsons is one of the most literary and intelligent comedies on television today - fertile ground for questions such as: Does Nietzsche justify Bart's bad behavior? Is hypocrisy always unethical? What is Lisa's conception of the Good? From the editor of and contributors to the widely-praised Seinfeld and Philosophy, The Simpsons and Philosophy is an insightful and humorous look at the philosophical tenets of America's favorite animated family that will delight Simpsons fans and philosophy aficionados alike. Twenty-one philosophers and academics discuss and debate the absurd, hyper-ironic, strangely familiar world that is Springfield, the town without a state. n exploring the thought of key philosophers including Aristotle, Marx, Camus, Sartre, Heidegger, and Kant through episode plots and the characters' antics, the contributors tackle issues like irony and the meaning of life, American anti-intellectualism, and existential rebellion. The volume also includes an episode guide and a chronology of philosophers which lists the names and dates of the major thinkers in the history of philosophy, accompanied by a representative quote from each. Contributors: David L.G. Arnold, Daniel Barwick, Eric Bronson, Paul A. Cantor, Mark T. Conard, Gerald J. Erion, Raja Halwani, Jason Holt, William Irwin, Kelley Dean Jolley, Deborah Knight, James Lawler, J.R. Lombardo, Carl Matheson, Jennifer L. McMahon, Aeon J. Skoble, Dale E. and James J. Snow, David Vessey, James J. Wallace, and Joseph A. Zeccardi ''Each essay provides a hilarious but incisive springboard to some aspect of philosophy.
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