Thomas E. Wartenberg

Organized around a series of philosophic questions about film,The Philosophy of Film: Introductory Text and Readingsoffers an accessible and engaging overview of the discipline. Provides thorough selection of readings drawn from philosophy,film studies, and film criticism Multiple points of view highlighted in discussion of filmtheory, narration, authorship, film and emotion, and the socialvalues of cinema Presents thought-provoking reading questions as well as clearand helpful introductions for each section More information about this text along with further resourcesare available from the accompanying website at:http://www.mtholyoke.edu/omc/phil-film/index.html

The question of how to define the concept of social power has been a focus of controversy among social theorists. In this paper, I put forward a definition of social power that avoids many of the pitfalls of previous attempts at such a definition. Roughly, I define the power which one agent has over another as the ability that the dominant agent has to control the situation within which the subservient agent acts. Using this basic definition of power, I go on to define many of the central forms in which power actually exists, forms that are conceptualized by such concepts as force, coercion, and influence. I show that these different forms of power can all be understood as specifications of the generic definition of power that I offered and go on to develop an account of how they function in relation to one another in actual relationship of social power.

Standard approaches to teaching philosophy tend to focus on teaching aspects of philosophy that are important to doing professional philosophy. This paper suggests an alternative to this approach by preparing college students to teach philosophy to elementary school children. After arguing that classics in children’s literature ought to be the primary vehicle for initiating philosophical discussion in elementary school children, an upper-level seminar for undergraduates at Mount Holyoke College that takes this alternative approach is described. Finally, the paper evaluates this alternative approach, contending that this method is more effective than the traditional approach due to the fact that it provides a multi-dimensional learning experience for college-level students.

THE NATURE OF ART is a collection of 29 seminal, historically-organized readings that are focused on a basic philosophical question: What is Art? Including writings from the Western tradition'both Continental and Analytic traditions'as well as non-Western, minority, and feminist writings, this volume provides students with a rich set of resources to explore this matter both broadly and deeply. Introductions to each reading situate the selection amidst each respective thinker's body of work and the greater philosophical context in which the remarks arose. Reading questions accompany each selection, drawing students' attention to key points to be encountered. Hailed by reviewers and adopters for its clarity and rigor, Wartenberg's THE NATURE OF ART offers a lively and engaging introduction to the philosophy of art.

Thinking on Screen: Film as Philosophy is an accessible and thought-provoking examination of the way films raise and explore complex philosophical ideas. Written in a clear and engaging style, Thomas Wartenberg examines films’ ability to discuss, and even criticize ideas that have intrigued and puzzled philosophers over the centuries such as the nature of personhood, the basis of morality, and epistemological skepticism. Beginning with a demonstration of how specific forms of philosophical discourse are presented cinematically, Wartenberg moves on to offer a systematic account of the ways in which specific films undertake the task of philosophy. Focusing on the films The Man Who Shot Liberty Valance, Modern Times, The Matrix, Eternal Sunshine of the Spotless Mind, The Third Man, The Flicker , and Empire , Wartenberg shows how these films express meaningful and pertinent philosophical ideas. This book is essential reading for students of philosophy with an interest in film, aesthetics, and film theory. It will also be of interest to film enthusiasts intrigued by the philosophical implications of film

In her essay “The Idea of Perfection,” Iris Murdoch argues that sustained attention directed towards another can result in a person’s moral improvement by getting them to have a more accurate view of the other. In this essay, I argue that the award-winning film My Octopus Teacher illustrates Murdoch’s view and corrects some of its shortcomings. It illustrates Murdoch’s claim by showing how one of the filmmaker’s sustained attention directed at an octopus results not only in an alternation in the filmmaker’s view of the cephalopod but also transforms his life by making him more open to others. Because the central relationship in the film is one between a human being and a cephalopod, the film also corrects the anthropocentric bias in Murdoch’s account by showing that a human being can have a transformative relationship with a creature as alien appearing as an octopus.

Abstract:Romeo and Juliet is one of the first works to emphasize the important place that romantic love holds in the lives of two individuals. Less frequently acknowledged is the role of romantic love in the play's criticism of feudal society. Using the notion of an unlikely couple, I explore the play's critique of feudal society for allowing the antagonism between the two lovers' noble households to undermine the possibility of their finding true love. The play argues for the importance of a strong, centralized state in securing the welfare of its citizens.

This paper describes a research project assessing the effect on second grade students’ understanding of argumentation that a twelve-week program of weekly philosophy lessons had. The philosophy lessons were taught using popular picture books in the manner employed in my Teaching Children Philosophy program. Compared to a control group of second graders who did not study philosophy, it was demonstrated that the 45-minute weekly philosophy classes led to a significant and sustainable increase in students’ understanding of argumentation.