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281.
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Film and Philosophy:
Volume >
19
Dan Shaw
Editor’s Introduction
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282.
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Film and Philosophy:
Volume >
19
Thomas Wartenberg
The Imposition Objection Reconsidered:
A Response to Richard Nunan
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283.
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Film and Philosophy:
Volume >
19
William Pamerleau
Does the Philosophy of Film Disenfranchise the Art of Film?
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284.
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Film and Philosophy:
Volume >
19
Sander Lee
Blue Jasmine, A Streetcar Named Desire, and the Power of Self-Deception
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285.
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Film and Philosophy:
Volume >
19
Shawn Loht
The Relevance of Heidegger’s Conception of Philosophy to the Film-as-Philosophy Debate
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286.
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Film and Philosophy:
Volume >
19
Lindsey Fiorelli
A New Defense of Cinematic Realism
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287.
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Film and Philosophy:
Volume >
19
Dan Flory
Imaginative Resistance, Racialized Disgust, and 12 Years A Slave
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288.
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Film and Philosophy:
Volume >
19
Laura T. Di Summa-Knoop
The Philosophical and Cognitive Achievement of Cult and the Ethical Puzzle of Casablanca
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289.
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Film and Philosophy:
Volume >
19
Jeremy Delong
Star Trek: Into Darkness—Ethical Impartiality, Partiality, and the Need for a Male/Female Synthesis
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290.
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Film and Philosophy:
Volume >
19
Bert Olivier
Battlestar Galactica, Technological Development and Eternal Recurrence
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291.
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Film and Philosophy:
Volume >
19
Matthew Meyer
Mystic River and Nietzsche’s Revaluation
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292.
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Film and Philosophy:
Volume >
19
Christopher Grau
Kantian Themes in The Elephant Man
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293.
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Film and Philosophy:
Volume >
20
Frank Boardman
An Argument (Many) Films Make
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294.
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Film and Philosophy:
Volume >
20
William Pamerleau
The Cost of Greatness:
A Nietzschean Analysis of Whiplash
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295.
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Film and Philosophy:
Volume >
20
James Conlon
The Goodness Of The ‘Holy Fool’ In Talk To Her (Hable con ella)
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296.
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Film and Philosophy:
Volume >
20
Dan Shaw
Editor’s Introduction
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297.
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Film and Philosophy:
Volume >
20
Joseph Kupfer
Care, Autonomy and Art:
Frida and Camille Claudel
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298.
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Film and Philosophy:
Volume >
20
Roy W. Perrett
Waltz with Bashir and the Definition of Documentary
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299.
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Film and Philosophy:
Volume >
20
Jack Simmons, Leigh E. Rich
Hannibal and the Horrors of Hyper-Rationality
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300.
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Film and Philosophy:
Volume >
20
Laura T. Di Summa-Knoop
“It is Like It is Always Right Now”:
Richard Linklater’s Boyhood and the Fiction-Nonfiction Divide
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