Author note: David Baggett (Editor), William A. Drumin (Editor)
Publish 12 months note: First released in 2007
The bathe scene in Psycho; Cary furnish working for his lifestyles via a cornfield; “innocent” birds coated up on a fence ready, looking at — those seminal cinematic moments are as genuine to moviegoers as their very own lives. yet what makes them so? What deeper forces are at paintings in Hitchcock’s movies that so captivate his fanatics? This choice of articles within the sequence that’s explored such pop-culture phenomena as Seinfeld and The Simpsons examines these forces with clean eyes. those essays reveal a desirable variety of themes: Sabotage’s classes concerning the morality of terrorism and counter-terrorism; Rope’s arguable Nietzschean underpinnings; Strangers on a Train’s definition of morality. a number of the essays examine extra overarching questions, equivalent to why Hitchcock is based so seriously at the Freudian subconscious. In all, the publication good points 18 philosophers paying a different homage to the mythical auteur in a fashion that’s obtainable even to informal fans.
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Extra resources for Hitchcock and Philosophy: Dial M for Metaphysics (Popular Culture and Philosophy)
His belief is true, by accident, but this belief is not knowledge because a broken clock does not provide the kind of reliable evidence on which knowledge is based. Truth Virtually all philosophers hold that knowledge requires truth. After all, knowledge involves moving beyond mere appearances to grasp how things really are. Yet philosophers disagree about what it means to say that a belief or a thought is true, and they have presented three main theories or accounts of truth: coherence, pragmatist, and correspondence accounts.
It is not possible for Charlie, no matter how wise she has become, to resolve the clash between these conflicting demands in a way that does justice to everything that she values. Plato’s Cave Again Early in the film, as noted, Hitchcock represents himself as a character who deceives others. But as the film draws to a close, 3 For more on feminist ethics, and the particular version known as the ethics of care, see Chapter 11 in this volume. Hitchcock and Philosophy_HIP HOP & philosophy 8/12/11 12:14 PM Page 30 30 Angela Curran we see another view of the relationship between an artist, such as Hitchcock, and the truth.
And, presumably, Brandon wouldn’t be able to live that philosophy either. Though life itself can and should be made a work of art, according to Nietzsche, it seems that murder cannot be. We must overcome the self-imposed limitations of humanity, but this does not involve murder as a creative art form. In popular fiction, perhaps Hannibal Lecter succeeds in making art of murder, but he is insane. There are some limitations that cannot be overcome. 8 The taboo of murder serves the pragmatic function of sustaining a valuable life-affirming illusion.