Cinema as a medium for reality: the case of The Purple Rose of Cairo Federica Dellepiane, Univers... more Cinema as a medium for reality: the case of The Purple Rose of Cairo Federica Dellepiane, Università degli studi di Genova This abstract draws on the latest analytical tendencies of the film philosophy to understand how Allen's film The Purple Rose of Cairo can philosophize. This film leads a complex cartesian analysis around itself, doubting about its own possibilities, limits and premises, shaping up as a metafilm and unveiling an entangled game of mirrors between different kinds of realities. This is evident since the beginning: the narrative technique Allen uses separates the coloured reality from the black and white fiction and from the real world of the cinema viewer, but all those realities, which seem so clearly distinct, are actually interdependent. It also introduces a noteworthy usage of the cinematografic tecnique which makes the narrative level credible and fluent, playing with the expectations and the feelings of the viewers, in a way that it is almost impossible to distinguish between reality and fiction. This usage of the cinematographic media makes the differences stand out but, at the same time, the viewer doesn't change his expectation even though the film lays its card on the table. The director knows that the viewer is aware the film is fiction but both of them are partners in the play. As a consequence, some relevant philosophical themes rise, such as the relationship between language and freedom in the screenplay, or the link between reality and fiction, empowering the director to explore the process through which cinematography mediates and validates reality. Allen grasps our longing for a reality which is near to the one in films, but he gathers the impending difference between this one and our life-routine, even though both of them are designated by the absence of meaning and ruled by chaos. What remains still is that films often give us the categories to detect and interpret life creating a own kind of philosophy.
Questo elaborato si interroga sullo statuto morale degli eroi del cinema di guerra, per comprende... more Questo elaborato si interroga sullo statuto morale degli eroi del cinema di guerra, per comprendere il ruolo che occupa la moralità e l’eroe morale nei war movie, qui considerati come specchio della contemporanea moralità. L’interesse per questo esempio morale nasce dall’esigenza di avere dei riferimenti etici concreti a cui ispirarsi nel condurre la propria vita morale e dalla curiosità di verificarne il valore in relazione alla società. A questo fine i war movie rappresentano un campo di prova ottimale, poiché le situazioni che presentano richiedono una visione morale ben definita e, allo stesso tempo, essendo lo specchio della società, garantiscono che i modelli scelti siano al passo con i tempi e i problemi che essi pongono.
Il presente lavoro vuole approfondire il tema del legame tra arte cinematografica e filosofia, ce... more Il presente lavoro vuole approfondire il tema del legame tra arte cinematografica e filosofia, cercando di verificare se e in quale modo le opere filmiche siano, non solo legate ovviamente alle impostazioni filosofiche-ideologiche del loro autore, ma possano addirittura essere in grado di produrre filosofia, nel senso di fornire originali spunti, sulla scia delle correnti principali della filosofia analitica. Allo scopo di approfondire tali connessioni, vengono analizzate, nella prima parte, le correnti principali della filosofia analitica, in modo da trarne le basi teoretiche che possano rendere filosoficamente attendibili le conclusioni, garantendo, per quanto varie e non definitive, alcune condizioni da soddisfare per poter affermare che il cinema possa filosofare.
The film celebrates the biography of Sergeant Alvin York, a farmer from Tennessee who, after a tu... more The film celebrates the biography of Sergeant Alvin York, a farmer from Tennessee who, after a turbulent past devoted to alcohol and bravado, converted and became a conscientious objector, but was forced to take up arms in the First World War to fight on the American front, becoming a hero thanks to his military tactics and his sniping skills. York goes through an emotional and especially moral travail, that all soldiers share, in wondering if and how one can reconcile being morally righteous with killing people. For the Sergeant, this dilemma arises in terms of reconciling his religiosity, his faith in the Bible in which it is clearly written not to kill, and the request made to him by the State to serve the Army with his shooting skills. Some help to resolve the matter comes from Major Buxton. Buxton summons York to his office to inform him of a promotion. York initially refuses, explaining that he is an objector, but Captain Denforth, in an attempt to calm York's conscience, and consequently his own, states that he too believes in the Bible, but is convinced that there is no impediment to fighting for what he believes to be right. To support his thesis he quotes passages from the Bible that justify the use of weapons, thus interpreting the part of Religion. To each of his citations York promptly responds with another passage in which it is clear that killing is not morally and religiously acceptable. The last quoted passage is taken from John and recites that the kingdom of God is not of this world, but if it were, then, his believers would have to fight; According to Alvin what makes the difference is precisely that unfulfilled condition placed at the beginning of the sentence. His faith therefore does not help him in his decision, it remains rigid on its positions, mute to his request for an answer. «You see, I believe in the bible, and I am believing that this life is something the Lord gave us and we got to be living it the best we can and, I'm figuring that killing other folks wasn't part of what he was Intending for us to be doing here»
Cinema as a medium for reality: the case of The Purple Rose of Cairo Federica Dellepiane, Univers... more Cinema as a medium for reality: the case of The Purple Rose of Cairo Federica Dellepiane, Università degli studi di Genova This abstract draws on the latest analytical tendencies of the film philosophy to understand how Allen's film The Purple Rose of Cairo can philosophize. This film leads a complex cartesian analysis around itself, doubting about its own possibilities, limits and premises, shaping up as a metafilm and unveiling an entangled game of mirrors between different kinds of realities. This is evident since the beginning: the narrative technique Allen uses separates the coloured reality from the black and white fiction and from the real world of the cinema viewer, but all those realities, which seem so clearly distinct, are actually interdependent. It also introduces a noteworthy usage of the cinematografic tecnique which makes the narrative level credible and fluent, playing with the expectations and the feelings of the viewers, in a way that it is almost impossible to distinguish between reality and fiction. This usage of the cinematographic media makes the differences stand out but, at the same time, the viewer doesn't change his expectation even though the film lays its card on the table. The director knows that the viewer is aware the film is fiction but both of them are partners in the play. As a consequence, some relevant philosophical themes rise, such as the relationship between language and freedom in the screenplay, or the link between reality and fiction, empowering the director to explore the process through which cinematography mediates and validates reality. Allen grasps our longing for a reality which is near to the one in films, but he gathers the impending difference between this one and our life-routine, even though both of them are designated by the absence of meaning and ruled by chaos. What remains still is that films often give us the categories to detect and interpret life creating a own kind of philosophy.
Questo elaborato si interroga sullo statuto morale degli eroi del cinema di guerra, per comprende... more Questo elaborato si interroga sullo statuto morale degli eroi del cinema di guerra, per comprendere il ruolo che occupa la moralità e l’eroe morale nei war movie, qui considerati come specchio della contemporanea moralità. L’interesse per questo esempio morale nasce dall’esigenza di avere dei riferimenti etici concreti a cui ispirarsi nel condurre la propria vita morale e dalla curiosità di verificarne il valore in relazione alla società. A questo fine i war movie rappresentano un campo di prova ottimale, poiché le situazioni che presentano richiedono una visione morale ben definita e, allo stesso tempo, essendo lo specchio della società, garantiscono che i modelli scelti siano al passo con i tempi e i problemi che essi pongono.
Il presente lavoro vuole approfondire il tema del legame tra arte cinematografica e filosofia, ce... more Il presente lavoro vuole approfondire il tema del legame tra arte cinematografica e filosofia, cercando di verificare se e in quale modo le opere filmiche siano, non solo legate ovviamente alle impostazioni filosofiche-ideologiche del loro autore, ma possano addirittura essere in grado di produrre filosofia, nel senso di fornire originali spunti, sulla scia delle correnti principali della filosofia analitica. Allo scopo di approfondire tali connessioni, vengono analizzate, nella prima parte, le correnti principali della filosofia analitica, in modo da trarne le basi teoretiche che possano rendere filosoficamente attendibili le conclusioni, garantendo, per quanto varie e non definitive, alcune condizioni da soddisfare per poter affermare che il cinema possa filosofare.
The film celebrates the biography of Sergeant Alvin York, a farmer from Tennessee who, after a tu... more The film celebrates the biography of Sergeant Alvin York, a farmer from Tennessee who, after a turbulent past devoted to alcohol and bravado, converted and became a conscientious objector, but was forced to take up arms in the First World War to fight on the American front, becoming a hero thanks to his military tactics and his sniping skills. York goes through an emotional and especially moral travail, that all soldiers share, in wondering if and how one can reconcile being morally righteous with killing people. For the Sergeant, this dilemma arises in terms of reconciling his religiosity, his faith in the Bible in which it is clearly written not to kill, and the request made to him by the State to serve the Army with his shooting skills. Some help to resolve the matter comes from Major Buxton. Buxton summons York to his office to inform him of a promotion. York initially refuses, explaining that he is an objector, but Captain Denforth, in an attempt to calm York's conscience, and consequently his own, states that he too believes in the Bible, but is convinced that there is no impediment to fighting for what he believes to be right. To support his thesis he quotes passages from the Bible that justify the use of weapons, thus interpreting the part of Religion. To each of his citations York promptly responds with another passage in which it is clear that killing is not morally and religiously acceptable. The last quoted passage is taken from John and recites that the kingdom of God is not of this world, but if it were, then, his believers would have to fight; According to Alvin what makes the difference is precisely that unfulfilled condition placed at the beginning of the sentence. His faith therefore does not help him in his decision, it remains rigid on its positions, mute to his request for an answer. «You see, I believe in the bible, and I am believing that this life is something the Lord gave us and we got to be living it the best we can and, I'm figuring that killing other folks wasn't part of what he was Intending for us to be doing here»
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Allo scopo di approfondire tali connessioni, vengono analizzate, nella prima parte, le correnti principali della filosofia analitica, in modo da trarne le basi teoretiche che possano rendere filosoficamente attendibili le conclusioni, garantendo, per quanto varie e non definitive, alcune condizioni da soddisfare per poter affermare che il cinema possa filosofare.
Allo scopo di approfondire tali connessioni, vengono analizzate, nella prima parte, le correnti principali della filosofia analitica, in modo da trarne le basi teoretiche che possano rendere filosoficamente attendibili le conclusioni, garantendo, per quanto varie e non definitive, alcune condizioni da soddisfare per poter affermare che il cinema possa filosofare.