A Film-Philosophy of Ecology and Enlightenment

Inspired by the philosophy of Wittgenstein and his idea that the purpose of real philosophical thinking is not to discover something new, but to show in a strikingly different light what is already there, this book provides philosophical readings of a number of 'arthouse' and Hollywood films. Each chapter contains a discussion of two films-one explored in greater detail and the other analyzed as a minor key which reveals the possibility for the book's ideas to be applied across different films, registers, and genres. The readings are not only interpretive, but they offer a way of thinking and feeling about, with, and through films which is genuinely transformative. Rupert Read's main contention is that certain films can bring about a change in how we see the world. He advocates an ecological approach to film-philosophy analysis, arguing that film can re-shape the viewer's relationship to the environment and other living beings. The transformative 'wake-up call' of these films is enlightenment in its true sense. The result is a book that ambitiously aims to change, though film, how we think of ourselves and our place in the world, at a time when such change is more needed than ever before.

Rupert Read is Reader in Philosophy at the University of East Anglia, UK. He is a renowned Wittgensteinian scholar, with research interests in political and environmental philosophy. His published monographs to date are Kuhn (co-authored, 2002), Applying Wittgenstein (2007), Philosophy for Life (2007), There is No Such Thing as a Social Science (2008), Wittgenstein Among the Sciences (2012), and A Wittgensteinian Way with Paradoxes (2012). His editorial experience includes The New Hume Debate (co-edited, 2000), Film as Philosophy: Essays on Cinema after Wittgenstein and Cavell (2005), and the work for which he is perhaps still best known, The New Wittgenstein (Routledge, 2000), which offers a major re-evaluation of Wittgenstein's thinking.

Introduction: Film as Freedom: The Meaning of Film as Philosophy 1. Implicating the Narrator, Implicating the Audience: Waltz with Bashir and Apocalypto 2. How to Represent a Past We Would Rather Forget: Hiroshima Mon Amour and Last Year at Marienbad 3. Learning from Conceptually Impossible Versions of Our World: Never Let Me Go and The Road 4. When Melancholia is Exactly What is Called For: Melancholia and Solaris 5. Gravity's arc; or Gravity: A Space Odyssey 6. The Fantasy of Absolute Safety through Absolute Power: The Lord of the Rings trilogy and Avatar Conclusion: What have we learnt?