Dan Flory

The exchange between Peter Park, Dan Flory and Leah Kalmanson on Park’s book Africa, Asia and the History of Philosophy: Racism in the Formation of the Philosophical Canon took place during the APA’s 2016 Central Division meeting on a panel sponsored by the Committee on Asian and Asian-American Philosophers and Philosophies. After having peer-reviewed the exchange, JWP invited Sonia Sikka and Mark Larrimore to engage with these papers. All the five papers are being published together in this issue.

Western philosophy has neglected and misunderstood the cognitive possibilities offered by imagination. Philosophers generally choose to avoid imaginative discourse as much as possible due to a deep ambivalence inherited from earlier views of this mental power. This avoidance occurs, however, in spite of a deep-seated dependence on imagination in method and argumentation, particularly in analytic philosophy. The dissertation focuses primarily on an extensive survey of the most influential historical theories of mind in regard to creating this prejudice: those from the Classical tradition surrounding phantasia. The survey shows that our ways of thinking philosophically about imagination remain in crucial respects deeply Platonic, still mired in the fear that imagination will lead us astray and hinder knowledge acquisition. It also shows, however, that we remain at the same time deeply Aristotelian about imagination, believing that human knowledge acquisition requires this mental capacity for cognition to be possible. This uneasy combination of conflicting attitudes derives heavily from the influence of syncretic Neoplatonism and other Hellenic philosophical traditions which profoundly affect Western philosophy to the present day. For example, the British philosophical tradition's reliance on these earlier theories from its incipience secured a legacy of cognitive disdain toward imagination while also maintaining a deep epistemological dependence on it. Empiricisms such as those of Locke and Bacon accordingly required imagination to make knowledge possible while also expressing open contempt for it. Descartes and others outside that tradition further stressed imagination's limitations while at the same time calling for its operation far beyond the bounds they had set for it. Also traced are the Classic era's medical, rhetorical, and religious realms of imaginative discourse in order to indicate their scope of influence on the Western philosophical tradition. Through this genealogy of imagination the dissertation argues that analytic philosophy would be greatly enhanced through overcoming its fear of imagination and more comprehensively using imaginative discourse to confront many of the philosophical problems that currently face it, such as the difficulties encountered when attempting to explain or expand human mental capacities that better recognize legitimate similarity and difference in epistemology as well as ethics

This article explores mainstream audience reactions concerning race and how they intersect with late 1950s Westerns known as the Ranown cycle. Synthesizing ideas from critical philosophy of race, philosophy of film, cognitive film theory, and philosophy of emotion, I analyze how these films elicit racialized reactions of sociomoral disgust toward Native American characters. Because such responses are not ordinarily processed through higher-level forms of cognition, I argue that these embodied, affective, implicit reactions are key to understanding how films like those in the Ranown cycle convey feelings, perspectives, and ideas concerning race, with important implications for ideology as well as philosophizing about film.

During the early part of the classic Hollywood sound period (1930–60), filmmakers sharpened a standardized way to portray Native American characters in Westerns. Such figures were depicted as disgusting by virtue of being beyond the pale in terms of their “acceptable” moral behavior, as measured by common white sensibilities of the era. This behavior was attributed to their nonwhiteness and therefore presumptively stemmed from their allegedly subhuman, “savage” nature. This stock depiction of Native American characters became one of creatures who communicated by means of silence, war whoops, animal sounds, or unintelligible language, and committed grievous moral transgressions without qualm. In this article I analyze the theoretical structure of such depictions and how these depictions work in terms of typical audience reaction, using recent work in philosophy of film, philosophy of emotion, and cognitive film theory.

This article examines Noël Carroll’s theory of solidarity from a critical race theoretical perspective. Using recent work in philosophy of film, philosophy of emotion, and critical philosophy of race, it argues his theory pays insufficient attention to both the role disgust plays in generating solidarity and the role race plays in generating disgust. Numerous and significant examples are cited to support these claims. The article also suggests implicit bias and embodied affect figure into character allegiance more seriously than Carroll’s theory indicates. These weaknesses arguably affect related theories in both philosophy of film and cognitive film theory, such as those advanced by A. W. Eaton, Margrethe Bruun Vaage, Murray Smith, and Carl Plantinga. The result is a call for revision of Carroll’s and these other thinkers’ theories, as well as a call for deeper investigation into disgust, race, and their importance in generating character allegiance.

This article uses Carl Plantinga’s and Noël Carroll’s theorizations regarding cinematic disgust to analyze Carl Franklin’s 1995 film noir, Devil in a Blue Dress. Plantinga argues for a link between disgust and ideology that helps to reveal deeper cultural significance in film, which Carroll’s work likewise supports. Plantinga further argues that disgust in art may be strangely attractive as well as repulsive, thereby eliciting reflection. I argue that combining these elements with philosopher Kwame Anthony Appiah’s explanation of how moral revolutions happen by means of honor codes helps to clarify not only viewer sympathy and solidarity for this film’s African-American protagonist, but also viewer moral disgust at another important white character’s racism. In particular, the film encourages its more thoughtful white viewers to reconsider as well as potentially change their affective responses, ideological predispositions, and habits of perception and attention regarding race, thereby facilitating fundamental moral change and even the possibility of moral revolution.

In the past two decades, African American filmmakers like Spike Lee have made significant contributions to the dialogue about race in the United States by adapting techniques from classic _film noir _to black American cinema. This book is the first to examine these artistic innovations in detail from a philosophical perspective informed by both cognitive film theory and critical race theory. Dan Flory explores the techniques and themes that are used in black _film noir _to orchestrate the audience’s emotions of sympathy and empathy felt toward morally complex characters whom people might not typically find appealing in real life, such as thugs, drug dealers, or murderers. Using an approach that combines the cognitive insights of theorists like David Bordwell, Noël Carroll, and Murray Smith with the reflective Wittgensteinian methods for considering film employed by Stanley Cavell, Stephen Mulhall, and William Rothman, Flory shows how these films scrutinize the state of race in America, induce their viewers to do so as well, and illuminate the ways in which categories of race have defined and continue to direct much of our vision of the moral self and what counts as appropriate moral sensibility

This collection fills a gap in the current literature in philosophy and film by focusing on the question: How would thinking in philosophy and film be transformed if race were formally incorporated moved from its margins to the center? The collection’s contributors anchor their discussions of race through considerations of specific films and television series, which serve as illustrative examples from which the essays’ theorizations are drawn. Inclusive and current in its selection of films and genres, the collection incorporates dramas, comedies, horror, and science fiction films into its discussions, as well as recent and popular titles of interest, such as _Twilight_, _Avatar_, _Machete_, _True Blood_, and _The Matrix _and _The Help_. The essays compel readers to think more deeply about the films they have seen and their experiences of these narratives