![]() ![]() Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. Moreover, he also offers an incisive analysis and explanation of several prominent forms of film theorising, providing a meta- logical account of their mutual advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising, and re- visioning the field of film theory as a whole. In it, John Mullarkey tackles the work of particular philosophers and theorists (Zizek, Deleuze, Cavell, Bordwell, Badiou, Branigan, Rancière, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Psychoanalytic and Phenomenological). Refractions of Reality: Philosophy and the Moving Image is the first book to examine all the central issues surrounding the vexed relationship between the film-image and philosophy. Too often, however, when philosophers claim to find indigenous philosophical value in film, it is only on account of refracting it through their own thought: film philosophises because it accords with a favoured kind of extant philosophy. In each case there is a claim that film can think in its own way. ![]() Approaches that purport to grant to film the possibility of being more than illustrative can be found in the subtractive ontology of Alain Badiou, the Wittgensteinian analyses of Stanley Cavell, and the materialist semiotics of Gilles Deleuze. Why is film becoming increasingly important to philosophers? Is it because it can be a helpful tool in teaching philosophy, in illustrating it? Or is it because film can also think for itself, because it can create its own philosophy? In fact, a popular claim amongst film-philosophers is that film is no mere handmaiden to philosophy, that it does more than simply illustrate philosophical texts: rather, film itself can philosophise in direct audio-visual terms. ![]()
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