Bøger i The Philosophy of Popular Culture serien

Presenting the most humorous, enlightening, and touching moments of a remarkable fifty-year career, Kentucky Lawyer provides an authoritative and enjoyable portrayal of the legal profession. Mac Swinford, a legend of the Kentucky bar and bench, tackles t

From the perfect mint julep to benedictine, from a classic hot brown to cheese chutney, Kentucky's Best captures the full range of the state's culinary delights.

Legendary director, actor, author, and provocateur Werner Herzog has incalculably influenced contemporary cinema for decades. This essay collection by professional philosophers and film theorists from around the globe offers a diversity of perspectives on how the thinking behind the camera is revealed in the action Herzog captures in front of it.

Arguably the most famous and recognized detective in history, Sherlock Holmes is considered by many to be the first pop icon of the modern age.

Many native North American cultures have origins that predate Confucius, who lived five hundred years before the birth of Christ. For generations the people of these traditions have thrived under conditions that many view as harsh if not hostile. Through

From the Academy Award--winning Eternal Sunshine of the Spotless Mind (2004) and Academy Award--nominated Adaptation (2002) to the cult classic Being John Malkovich (1999), writer Charlie Kaufman is widely admired for his innovative, philosophically re

Presents essays by prominent scholars that examine the impact of representing war in film and the influence that cinematic images of battle have on human consciousness, belief, and action. The contributors explore a variety of topics, including the aesthetics of war, the effect war has on personal identity, and ethical problems presented by war.

Known for restoring vitality and superior craftsmanship to the crime thriller, American filmmaker Michael Mann has long been regarded as a talented triple threat capable of moving effortlessly between television and feature films as a writer, director, and executive producer.

Its pervasiveness suggests the vitality of the noir depiction of human experience and the importance of TV for transmitting the legacy of film noir and producing new forms of noir.

Essayist, social critic, poet, "mad farmer," novelist, teacher, and prophet: Wendell Berry has been called many things, but the broad sweep of his contemporary relevance and influence defies simple labels. With his unique perspective and far-reaching visi

Law and Society in the South reconstructs eight pivotal legal disputes heard in North Carolina courts between the 1830s and the 1970s. Each case offers a vivid portrait of the laws, litigants, lawyers, judges, and affected communities, providing a better

World War II submariners rarely experienced anything as exhilarating or horrifying as the surface gun attack. Surface and Destroy: The Submarine Gun War in the Pacific reveals the nature of submarine warfare in the Pacific Ocean during World War II and investigates the challenges of facing the enemy on the surface.

The Philosophy of Joss Whedon examines Whedon's plots and characterizations to reveal their philosophical takes on the limits of personal freedom, sexual morality, radical evil, and Daoism.

Widely regarded as a turning point in American independent cinema, Steven Soderbergh's sex, lies, and videotape (1989) launched the career of its twenty-six-year-old director, whose debut film was nominated for an Academy Award and went on to win the Cannes Film Festival's top award, the Palme d'Or.

In the years before the Revolutionary War, intrepid frontiersmen with roots in northern Ireland claimed vast tracts of land in Kentucky on which they developed plantations. They settled the land and with their families built enduring stone houses that bec

The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism.

The Philosophy of War Films is a timely and engaging read for any philosopher, filmmaker, reader, or viewer who desires a deeper understanding of war and its representation in popular culture.

The science fiction genre maintains a remarkable hold on the imagination and enthusiasm of the filmgoing public, captivating large audiences worldwide and garnering ever-larger profits. Science fiction films entertain the possibility of time travel and extraterrestrial visitation and imaginatively transport us to worlds transformed by modern science and technology. They also provide a medium through which questions about personal identity, moral agency, artificial consciousness, and other categories of experience can be addressed. In The Philosophy of Science Fiction Film, distinguished authors explore the storylines, conflicts, and themes of fifteen science fiction film classics, from Metropolis to The Matrix. Editor Steven M. Sanders and a group of outstanding scholars in philosophy, film studies, and other fields raise science fiction film criticism to a new level by penetrating the surface of the films to expose the underlying philosophical arguments, ethical perspectives, and metaphysical views. Sanders's introduction presents an overview and evaluation of each essay and poses questions for readers to consider as they think about the films under discussion.The first section, "e;Enigmas of Identity and Agency,"e; deals with the nature of humanity as it is portrayed in Blade Runner, Dark City, Frankenstein, Invasion of the Body Snatchers, and Total Recall. In the second section, "e;Extraterrestrial Visitation, Time Travel, and Artificial Intelligence,"e; contributors discuss 2001: A Space Odyssey, The Terminator, 12 Monkeys, and The Day the Earth Stood Still and analyze the challenges of artificial intelligence, the paradoxes of time travel, and the ethics of war. The final section, "e;Brave Newer World: Science Fiction Futurism,"e; looks at visions of the future in Metropolis, The Matrix, Alphaville, and screen adaptations of George Orwell's 1984.

In The Philosophy of Stanley Kubrick, some of our most respected philosophers investigate Kubrick's art to illuminate his view of reality. In films like 2001: A Space Odyssey, Eyes Wide Shut, and Dr. Strangelove, Kubrick explores the world honestly, mirroring the vast complexity of the world of philosophy.

In The Philosophy of The X-Files, Dean A. Kowalski has gathered a remarkable cast of contributors to shed light on the philosophical mysteries of the television show The X-Files. With sections devoted to the show's credos, such as "e;The Truth Is Out There,"e; individual characters, and specific episodes, The Philosophy of The X-Files illuminates the philosophical assumptions and presuppositions of the show as well as presents discussions through the show to help the reader better understand philosophy and philosophical inquiry.

A close examination of one of the most significant artistic movements of the twentieth century, The Philosophy of Film Noir reinvigorates an intellectual discussion at the intersection of popular culture and philosophy.

Here is the story of the long interaction between humans, land, and climate in the American South. Originally published in 1983 and needed now more than ever, This Land, This South was the first book to explore the cumulative impact of humans on the southern landscape and its effect on them.

In Basketball and Philosophy, a Dream Team of twenty-six basketball fans, most of whom also happen to be philosophers, proves that basketball is the thinking person's sport.

Neil Young and Philosophy examines the music, career, and life of Neil Young from a variety of philosophical perspectives in ethics, socio-political thought, and aesthetics. It will be of great interest both to Neil Young fans and to scholars and teachers of philosophy and culture.

Perhaps nowhere in the broad expanse of types of film is the old "quarrel between philosophy and poetry" more evident-and also more vitally relevant-than in the genre or mode of film known as documentary. Documentary film is just another form of poetic imitation, in its variety of instances and complexity of fabrication, it is just as much caught up with the limitations-and effects-of mimetic art, including fiction film. This book affords a prismatic perspective on documentary cinema, inviting the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences together into a shared conversation.

In this book, Dean Kowalski argues that filmmakers can "do" philosophy when creating a fictional narrative film, and utilizes a careful and extensive analysis of Joss Whedon's fictive creations-Buffy the Vampire Slayer, Angel, Firefly, Dollhouse, and The Cabin in the Woods (among others)-to establish this thesis.

The Philosophy of Christopher Nolan collects sixteen essays written by philosophers and film theorists analyzing moral, metaphysical, epistemological, and political themes that characterize the films of Christopher Nolan.

The spirit that founded the volume and guided its development is radically inter- and transdisciplinary. Dispatches have arrived from anthropology, communications, English, film studies (including theory, history, criticism), literary studies (including theory, history, criticism), media and screen studies, cognitive cultural studies, narratology, philosophy, poetics, politics, and political theory; and as a special aspect of the volume, theorist-filmmakers make their thoughts known as well. Consequently, the critical reflections gathered here are decidedly pluralistic and heterogeneous, invitingΓÇönot bracketing or partitioningΓÇöthe dynamism and diversity of the arts, humanities, social sciences, and even natural sciences (in so far as we are biological beings who are trying to track our cognitive and perceptual understanding of a nonbiological thingΓÇönamely, film, whether celluloid-based or in digital form); these disciplines, so habitually cordoned off from one another, are brought together into a shared conversation about a common object and domain of investigation.This book will be of interest to theorists and practitioners of nonfiction film; to emerging and established scholars contributing to the secondary literature; and to those who are intrigued by the kinds of questions and claims that seem native to nonfiction film, and who may wish to explore some critical responses to them written in engaging language.

The Who was one of the most influential of the 1960s British Invasion bands-not just because of their loud and occasionally destructive stage presence-but also because of its smart songs and albums such as "My Generation," Who's Next, Tommy, and Quadrophenia, in which they explored themes such as frustration, angst, irony, and a youthful inclination to lash out. This collection explores the remarkable depth and breadth of the Who's music through a philosophical lens.