Dan Flory

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

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