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Overview"For well over a century, going to the movies has been a favorite pastime for billions across the globe. But is film actually good for anything? This volume brings together thirty-six scholars, critics, and filmmakers in search of an answer. Their responses range from the most personal to the most theoretical—and, together, recast current debates about film ethics. Movie watching here emerges as a wellspring of value, able to sustain countless visions of ""the good life."" Films, these authors affirm, make us reflect, connect, adapt; they evoke wonder and beauty; they challenge and transform. In a word, its varieties of value make film invaluable. " Full Product DetailsAuthor: Prof. Julian Hanich , Prof. Martin P. RossouwPublisher: University of California Press Imprint: University of California Press Dimensions: Width: 15.20cm , Height: 2.80cm , Length: 22.90cm Weight: 0.590kg ISBN: 9780520386815ISBN 10: 0520386817 Pages: 432 Publication Date: 01 August 2023 Audience: Professional and scholarly , Professional & Vocational Format: Paperback Publisher's Status: Active Availability: In stock  We have confirmation that this item is in stock with the supplier. It will be ordered in for you and dispatched immediately. Table of ContentsContents Acknowledgments Foreword by Mike Figgis Introduction: Film Ethics as Delivering the Goods Martin P. Rossouw and Julian Hanich PART ONE. ADAPTIVE GOODS 1. . . . A Portal to Another World: On Cinema, Climate Change, and a Good Apocalypse Jennifer Fay 2. . . . Scaling Down: On the Unsustainable Pleasure of Large-File Streaming Laura U. Marks 3. . . . It’s Invaluable: On Film Spectatorship in the Era of Covid-19 Sarah Cooper 4. . . . Stabilities and Mobilities: On the Generic Values of Emplacements, Displacements, and Outplacements Timothy Corrigan PART TWO. EMPATHETIC GOODS 5. . . . Lies, Loops, or Liberation: On the Dis/Obedience of Feeling More Michele Aaron 6. . . . Public Engagement: On Postcolonial African Cinema’s Critical Value Litheko Modisane 7. . . . Shedding Light on Abject Lives: On Global Cinema as Ethical Art Seung-hoon Jeong 8. . . . Empathy: On Its Limitations and Liabilities Malcolm Turvey 9. . . . Political Impact: On the Societal Vibrancy of Film Jens Eder PART THREE. SENSTITIVE GOODS 10. . . . Moral Reflection: On the Reflective Afterlife of Screen Stories Carl Plantinga and Garrett Strpko 11. . . . Challenge and Discomfort: On Situated Elitist Pleasures in Art and Indie Film Geoff King 12. . . . Heterocosmic Connections: On the Many Worlds and World Values of Cinema Daniel Yacavone 13. . . . Depth of Experience: On Early Phenomenology and the Value of Boredom in the Cinema Christian Ferencz-Flatz 14. . . . Striking Beauty: On Recuperating the Beautiful in Cinema Julian Hanich PART FOUR. REVIVING GOODS 15. . . . Wondering Offscreen: On Cinema’s Transformations of Our Relation to the Unseen Jaimie Baron 16. . . . Coming to Wonder: On Cinema’s Renewal of Vision Catherine Wheatley 17. . . . Moral Improvement: On How Watching Films Might Make Us Better People Thomas E. Wartenberg 18. . . . Cinematic Ethics: On Film as Transformative Experience Robert Sinnerbrink 19. . . . Spiritual Exercises Before a Screen: On “Film as Philosophy” and Its Transformational Ethics Martin P. Rossouw PART FIVE. COMMUNAL GOODS 20. . . . Remembrance and Reflection: On Social Justice Cinema in the #BlackLivesMatter Era Maryann Erigha Lawer 21. . . . Making Movie Generations: On the Cultural Work of Hollywood Remaking Kathleen Loock 22. . . . Reaching Unlettered Audiences: On Global Blockbuster Cinema and Its Oral Affinities Sheila J. Nayar 23. . . . Love of Community and Reality: On André Bazin and the Good of Cinema Dudley Andrew PART SIX. MEDIAL GOODS 24. . . . Projection and Protection: On Cinemagoing as Playing Hide-and-Seek with Reality Francesco Casetti 25. . . . An Animated and Animating Medium: On Hegel,Adorno, and the Good of Film Nicholas Baer 26. . . . The Bigger Picture: On Watching Films on a Cinema Screen Martine Beugnet 27. . . . Quality Time: On Resisting What’s Next, or Staying with the Credits Tiago de Luca PART SEVEN. UNSETTLED GOODS 28. . . . Wanton Destruction: On Cinema’s Antisocial Thrills Adrian Martin 29. . . . Alienating Interventions: On What the “Bad” in David Lynch’s Films Is “Good” For Annie van den Oever and Dominique Chateau 30. . . . Dangerous Situations: On Whether Cinema Is Poisonous Michel Chion 31. . . . Good for Nothing? On How Films Help Us through the Night Tom Gunning 32. . . . Medium-Sized Matters: On Whether Cinema Has Made Any Difference Mark Cousins Afterword by Radu Jude List of Contributors IndexReviews"""Readers will find What Film is Good For an expansive toolkit to make use of going forward."" * Cineaste * ""One of the most commendable aspects of What Film is Good For is its accessibility. While grounded in scholarly inquiry, the anthology remains engaging and approachable for general readers, academics, and cinephiles alike. . . . It is written by and for people who take cinema seriously, and it is rousing to read such varied and thought-provoking chapters on the value of film, all of which ultimately affirm the meaningfulness of this beloved medium. . . . a true treasure for an academic anthology to prove so stirring."" * Alphaville *" """Readers will find What Film is Good For an expansive toolkit to make use of going forward."" * Cineaste *" Author InformationJulian Hanich is Associate Professor of Film Studies at the University of Groningen. He is author of The Audience Effect: On the Collective Cinema Experience and Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasurable Fear. Martin P. Rossouw is Senior Lecturer in the Department of Art History and Image Studies at the University of the Free State, South Africa. He is author of Transformational Ethics of Film: Thinking the Cinemakeover in the Film-Philosophy Debate. Tab Content 6Author Website:Countries AvailableAll regions |
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