Gary James Jason

In this essay, I look at two negative portrayals of egoism. I summarize in detail the superb All About Eve—which won six Academy Awards, including Best Picture. The movie is about the rise of a ruthlessly ambitious actress, and how she treats her main competitor. Eve Harrington worms her way into top theatrical actress Margo Channing’s inner circle by pretending to be an admirer, but she is really a schemer who wants to eclipse Margo’s star in the theater universe. However, Eve runs into trouble when she attempts to manipulate tart-tongued theater critic, Addison de Witt. The movie portrays the New York theater industry as being full of narcissists. I then review the classic film noir The Third Man (1949), rated by the prestigious British Film Institute as the greatest film of the 20th century. The film centers around a charismatic, handsome criminal mastermind Harry Lime living in bombed-out post-War Vienna. Lime is a man of no conscience or empathy—a true psychopath. He cripples children by selling hospitals adulterated penicillin. But we (the audience) still feel sympathy for him. I end the piece by explaining the psychological mechanisms at work that give rise to our paradoxical sympathy.

This textbook offers a dynamic new approach to logic with emphasis on the development of skills. The reader learns to use practical guidelines and helpful hints in dealing with statements, questions and their presuppositions, single and multiple arguments, and dialogues as they occur in ordinary language.Symbolic logic is presented in a clear and measured fashion with an eye to ordinary language applications. The reader is introduced to natural deduction through the use of proof constructions based on a core set of simple rules.This text also presents a fresh approach to traditional logic though set theory. Carroll diagrams are used in place of Venn diagrams in order to help develop a more intuitive understanding of syllogisms.

In this essay, I review a French-American gem of a movie, The Artist. This movie was an homage to the silent film era and is itself almost all silent. I discuss both the artistic and financial success of silent movies, and I praise this film for successfully interesting modern theater-goers despite its almost total lack of sound. The film won five Academy Awards, including Best Picture, Best Director, and—for its outstanding lead actor, Jean Dujardin—Best Actor. It is the only French-produced movie to win Best Picture, and the only (almost entirely) silent movie to win Best Picture since the start of the Academy Awards in 1929.

In this essay, I take up the question of why so many of the movies made by Hollywood are endless sequels, “prequels,” and remakes of prior blockbuster hits and so many are based on comic books (X-men, Superman, Batman, and so on). I tie the explanation in part to the aforementioned 1950 Supreme Court ruling prohibiting production companies, and in part to broader cultural changes. In particular, I argue that precisely because film producers can no longer make money from the concessions (i.e., the purchases within the theater), but only of the ticket sales, the producers keep producing remakes of known popular movies, rather than make deeply original movies.

In this essay, I review two earlier anti-Semitic propaganda films of 1939, to wit, Robert and Bertram, and Linen from Ireland. I begin by rehearsing some of Abram de Swann’s analysis of genocide and then discuss in greater detail a classic sociological analysis written during WWII by Hans Speier. Speier distinguished three broad kinds of war of increasing ferocity: instrumental war, agonistic war, and absolute war. While the first two sorts of war are relatively constrained, in absolute war the in-group regards the out-group as inherently evil, and consequently the goal of such a war is to exterminate the out-group, with no limitation on methods. I suggest in the piece that the focus of these films is precisely to get the audience to view Jews as three different things: different (not Germans as “Aryans” are supposed to be); disgusting (loathsome, somehow degenerate); and dangerous (a threat to Aryan Germans by their very nature). I cover both films, pointing to the scenes that are crafted to engender in the audience exactly these feelings. To help explain how the various scenes manipulate the audience to push the regime’s Anti-Semitic narrative, I use Robert Cialdini’s theory of the use of psychological mechanisms in marketing.

This essay is my review of Colleen Dyble’s book, Taming Leviathan: Waging a War of Ideas around the World. Dyble is affiliated with the legendary classical liberal British think tank, the Institute of Economic Affairs. Her anthology is a collection of essays by people around the world who have been involved with similar free-market think tanks in countries with historically statist economic systems. These writers include Greg Lindsay, founder of the Center for Independent Studies in Australia; Margaret Tse, of the Instituto Liberdade in Brazil; Michael Walker, co-founder of the Fraser Institute in Canada; Cristian Larroulet, of Libertad y Desarrollo in Chile; Giancarlo Ibarguen, of the Center for Economic and Social Studies in Guatemala (which actually founded a free-market-oriented university); Parth Shah, founder of the Center for Civil Society in India; Daniel Doron, co-founder of the Israeli Center for Social and Economic Progress; Alberto Mingardi, of the Instituto Bruno Leoni in Italy; Masaru Uchigama, founder of the Japanese for Tax Reform; Elena Leontjeva, co-founder of the Lithuanian Free Market Institute; Alexander Magno, co-founder of the Foundation for Economic Freedom in the Philippines; and last, Leon Louw, of the Free Market Foundation of South Africa. I then discuss seven important reasons why classical liberal think tanks are so important in modern societies.

This essay is my review of Erwin Leiser’s excellent documentary film Germany Awake. This classic film first aired in Germany in 1968, and remains to this day one of the best surveys of major Nazi-era movies and exactly what messages they were meant to convey. The film underscores the emphasis the regime put on film as one of the premier mechanisms of propaganda, though Leiser’s film points out that most of the cinema produced by the Nazi regime was not pure propaganda, but mainly entertainment. In the review, I put forward a list of criteria for evaluating the degree of the deceptiveness of propaganda, and why cinema is so apt to exploit those criteria.

In this essay, I discuss in detail two of the earliest such documentaries: Death Mills (1945), directed by Billy Wilder; and Nazi Concentration Camps (1945), directed by George Stevens. Both film-makers were able to get direct footage of the newly-liberated concentration camps from the U.S. Army. Wilder served as a Colonel in the U.S. Army’s Psychological Warfare department in 1945 and was tasked with producing a documentary on the death camps as well as helping to restart Germany’s film industry. I next review the great French Holocaust documentary Night and Fog (1955), directed by Alain Resnais. This was a widely acclaimed film, winning the Prix Jean Vigo in 1956. Resnais employed a camp survivor (Jean Cayrol) to write the dialogue, and it is powerful, indeed, truly lyrical in places. The last film I review in the essay is a generally overlooked British Thames Television documentary, Genocide: 1941-1945 (1974), directed by Michael Darlow (and narrated by Sir Laurence Oliver). It was the first of the major Holocaust documentaries to focus on the point that the Nazi genocide targeted first and foremost the Jewish people, and to explore the development of Nazi racial theory, and the rise of the SS.

In this essay, I look at two films as possible exemplars of the Nietzschean view of egoism. Compulsion is based on the infamous 1924 Leopold and Loeb murder case. In the movie, two arrogant young men—one of whom admires Nietzsche and preaches the (apparently Nietzschean) view that the strong and superior don’t need to follow conventional morality—kill a boy to prove they can outsmart the unter-menschen police. For a different take on what Nietzsche may have had in mind as “the Overman,” I also look at the film The Moon and Sixpence. Here the protagonist isn’t violent or aggressive, but a completely self-absorbed artist, who paints with genius but uses others without feeling any gratitude or friendship, let alone love.

SummaryIn this paper, two different theoretical problems of induction are delineated. The first problem is addressed; the second problem is deferred to the sequel to this paper. The first problem of induction is taken to be the seemingly unformalizable nature of traditional inductive arguments. It is shown that the problem does not arise out of some particularly dubious argument form , but rather from the presupposition that inductive “logic” is, like deductive logic, assertoric. Rather , inductive logic is dialectical in nature.RésuméDans cet article, deux problèmes théoriques de l'induction sont formulés. Le premier est traité, le second le sera dans une suite à cet article. Le premier problème de l'induction est ici la nature apparemment non formalisable des arguments inductifs traditionnels. L'auteur montre que le problème ne provient pas d'une forme d'argumentation particulièrement douteuse , mais au contraire de la présupposition que la «logique» inductive est, comme la logique déductive, assertorique. Il soutient au contraire qu'elle est par nature dialectique.ZusammenfassungIn der vorliegenden Arbeit werden zwei theoretische Probleme der Induktion formuliert, wovon das zweite in einem anderen Artikel behandelt werden soll. Das erste Problem betrifft die scheinbar nicht formalisierbare Natur der üblichen induktiven Argumente. Der Verfasser zeigt dass das Problem nicht von einer besonders zweifelhaften Argumentationsform herrührt , sondern von der Voraussetzung, dass die induktive «Logik» — wie die deduktive Logik — assertorisch sei. Es wird dagegen gezeigt, dass die induktive Logik dialektischer Natur ist.

This essay is my review of Olaf Gersemann’s book, Cowboy Capitalism: European Myths, American Reality. Gersemann was a reporter for Germany’s largest business weekly magazine, and he came to America to write an expose of the weakness of the American economy. What he found instead—and argued in detail—is that the American economy was robust, for better off than commonly believed in Europe. I finish the review by pointing out some things he overlooked, such as the fact that the U.S. has paid and continues to pay disproportionately more for joint American/European defense, and that no European nation has allowed in the vast number of poor immigrants that America has.

Christopher Johnson has put forward in this journal the view that ad hominem reasoning may be more generally reasonable than is allowed by writers such as myself, basing his view on virtue epistemology. I review his account, as well as the standard account, of ad hominem reasoning, and show how the standard account would handle the cases he sketches in defense of his own view. I then give four criticisms of his view generally: the problems of virtue conflict, vagueness, conflation of speech acts, and self-defeating counsel. I then discuss four reasons why the standard account is superior: it better fits legal reality, the account of other fallacies, psychological science, and political reality.