The first collection of its kind, The Continental Philosophy of Film Reader is the essential anthology of writings by continental philosophers on cinema, representing the last century of film-making and thinking about film, as well as all of the major schools of Continental thought: phenomenology and existentialism, Marxism and critical theory, semiotics and hermeneutics, psychoanalysis, and postmodernism. Included here are not only the classic texts in continental philosophy of film, from Benjamin's "The Work of Art in the Age of Mechanical Reproduction" to extracts of Deleuze's Cinema and Barthes's Mythologies, but also the earliest works of Continental philosophy of film, from thinkers such as Georg Lukács, and little-read gems by philosophical giants such as Sartre and Beauvoir.
The book demonstrates both the philosophical significance of these thinkers' ideas about film, as well their influence on filmmakers in Europe and across the globe. In addition, however, this wide-ranging collection also teaches us how important film is to the last century of European philosophical thought. Almost every major continental European thinker of the twentieth and twenty-first centuries has had something to say-sometimes, quite a lot to say-about cinema: as an art form, as a social or political phenomenon, as a linguistic device and conveyor of information, as a projection of our fears and desires, as a site for oppression and resistance, or as a model on the basis of which some of us, at least, learn how to live.
Purpose built for classroom use, with pedagogical features introducing and contextualizing the extracts, this reader is an indispensable tool for students and researchers in philosophy of film, film studies and the history of cinema.
Finally an anthology of continental philosophers on film! The Continental Philosophy on Film Reader has made a wealth of primary sources easily accessible for cross-reading, discerning trajectories, and tracing responses. Ending with postmodernism, this welcome historical anthology allows access to diverse formats from Simone de Beauvoir's defense of Brigit Bardot against criticism by other women in what today would be a blog to the chatty interviewee Michel Foucault rejecting films about known figures even if these are Continental philosophers.
