“Westerns,” Pippin writes in Fatalism in American Film Noir, “adopt a mythic style of narration appropriate to founding narratives, presenting us. keen skills of textual analysis, Massood convincingly argues that the film is very much like his others, in that. 4 Little Girls includes “a focus on African American. Robert B. Pippin. Fatalism in American Film Noir: Some Cinematic Philosophy. Charlottesville: University of Virginia Press x + pages. $ (cloth.

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Helen Andrews rated it really liked it Nov 27, Notwithstanding the doubts just expressed about the degree to which Scarlet Street is really of a piece with Out of the Past and Lady from Shanghaione has to admire, and in broad strokes agree with, the picture Pippin gives us of partly opaque, partly deluded, partly unlucky, and thus not fully responsible, agents at the core of these films.

iflm Books by Robert B. Philosophy Through Film in Aesthetics. On the other hand, fate serves characters as a ready-to-hand, always available justification for failing to act as they know they probably could and should. Jimmie rated it really liked it Nov 20, Yet in some sense they act, and fatefully.

Fatalism in American Film Noir | The University of Virginia Press

Phenomenology and the Future of Film: An original and illuminating contribution to both philosophy and film studies. Lisa Downing – – Routledge.

The book’s main theme is the nature and conditions of agency, of what is required for and involved in ascription of actions to self and to others, and the conditions under which such ascriptions become tenuous, doubtful, or downright impossible.


It is true that he is highly associative at times, and the parenthetical statements pile up as the work goes on. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.

Daniel McCaffrey marked it as to-read Apr 28, Veijo Hietala – – Distributor, Akateeminen Kirjakauppa. For that assimilation obscures as much as ib illuminates.

Furthermore, Pippin avoids the reductionist tendencies of much cultural criticism of the cultural studies sortor america kind of psychoanalytic read that these films often get. Renan Virginio marked it as to-read May 09, This is the confession of someone who simply cannot see the world as it is, but only as he feels or imagines it.

Fatalism in American Film Noir: Some Cinematic Philosophy by Robert B. Pippin

View freely available titles: Moreover, since these are persistent issues in philosophy, stories reflecting them might add layers of depth and resonance to philosophical discussions of them. Project MUSE Mission Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.

Google Books no proxy Setup an account with your affiliations in order to access resources via your University’s proxy server Configure custom proxy use this if your affiliation does not provide a proxy. In fact, Pippin asserts these popular films do so as well as the “high art” of Fontane, Tolstoy, James, Musil, Ibsen, Beckett in any case, I think Pippin is correct in asserting these films and writers do a far better job of presenting fatalism than actual philosophers like Schopenhauer or Nietzsche.


Fan Wu rated it liked it Nov 12, Be the first to ask a question about Fatalism in American Film Noir.


What would that look and feel like? Paul O’Leary rated it liked it Dec 01, Terry Kuny added it Jan 28, VamanaBhava Ruse rated it it was amazing Jun 15, Variants of the reflective model that run through the Western cannon include Aristotle, Kant, and Nietzsche, and many of our intuitions about self-knowledge or how we determine moral responsibility will line up with this view of agency.

Hardcoverpages. Trevor Whittock – – Cambridge University Press.

Looking at several film noirs–including close readings of three classics of the genre, Fritz Lang’s Scarlet Street, Orson Welles’s The Lady from Shanghai, and Jacques Tourneur’s Out of the Past–Pippin reveals the ways in which these works explore the declining credibility of individuals as causal centers of agency, and how we live with the acknowledgment of such limitations. University of Virginia Press, fipm Built on the Johns Hopkins University Fatslism.

This is a felicitous way to describe the way a film can illuminate a philosophical problem.