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Fatalism in American Film Noir: Some Cinematic Philosophy (Page-Barbour Lectures), by Robert B. Pippin
Get Free Ebook Fatalism in American Film Noir: Some Cinematic Philosophy (Page-Barbour Lectures), by Robert B. Pippin
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The crime melodramas of the 1940s known now as film noir shared many formal and thematic elements, from unusual camera angles and lighting to moral ambiguity and femmes fatales. In this book Robert Pippin argues that many of these films also raise distinctly philosophical questions. Where most Hollywood films of that era featured reflective individuals living with purpose, taking action and effecting desired consequences, the typical noir protagonist deliberates and plans, only to be confronted by the irrelevance of such deliberation and by results that contrast sharply, often tragically, with his or her intentions or true commitments. Pippin shows how this terrible disconnect sheds light on one of the central issues in modern philosophy--the nature of human agency. How do we distinguish what people do from what merely happens to them? 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.
- Sales Rank: #1260431 in eBooks
- Published on: 2012-02-22
- Released on: 2012-02-22
- Format: Kindle eBook
Review
Robert Pippin has done it again. Hot on the heels of his award-winning book about Westerns, this study of film noir tells the other side of the story, the bleaker, more pessimistic side of the great age of American cinema. Seamlessly blending philosophy, history, and film analysis, it convincingly and powerfully suggests that the crucial function of film noir is to offer a worked-out picture of what life would look like were we to suspect that our most important decisions carry no real weight. With this stunning achievement, Pippin has reconfirmed his position as one of the most important critics of film writing today.
(Joshua Landy, Stanford University, coeditor of The Re-Enchantment of the World: Secular Magic in a Rational Age)In Fatalism in American Film Noir, Robert Pippin examines popular movies from a philosophical perspective and does not treat them merely as an illustration of ideas but as a way of putting the ideas to the test of concrete cinematic experience. He looks at them thoughtfully and sensitively both as an inquisitive philosopher and as an attentive film critic. An original and illuminating contribution to both philosophy and film studies.
(Gilberto Perez, Sarah Lawrence College author of The Material Ghost: Films and Their Medium)Like tragic figures, the heroes of noir are, or seem, doomed from the start. Pippin... calls into question this accepted view through analyses of three films.... Pippin demonstrates that, far from affirming fatalism, many noir films problematize the view that modern life is lived under the sign of doom. He argues that the very uncertainty of the human condition is the subject of film noir: is an individual’s conduct freely chosen or determined by forces he or she does not understand? The three chosen films answer: Maybe we’re free. Maybe we’re not. Radical uncertainty is where these films take readers and mostly leave them. Pippin’s analyses are thoughtful, detailed (even intricate), and challenging.
(CHOICE) About the Author
Robert B. Pippin is Evelyn Stefansson Nef Distinguished Service Professor in the John U. Nef Committee on Social Thought, the Department of Philosophy, and the College, at the University of Chicago. He is the author, most recently, of Hollywood Westerns and American Myth: The Importance of Howard Hawks and John Ford for Political Philosophy.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Film Noir Lives, but the F-Word is Fatal
By DENNIS ROHATYN
If an intellectual is someone who can sit through Rossini's opera "William Tell" in its entirety without once thinking of the Lone Ranger,
then Robert Pippin is surely an intellectual. He can talk about the archetypal femme fatale or the barely submerged homoerotic bond
between male protagonists all noir long, but when it's right there on screen, he can't see or sense it. Nor does he notice pain, anguish
and human suffering, much less death, except as a plot-point. His reduction of "Double Indemnity" to a single trope (forgiveness--or a
mixture of mercy and resignation) belies his own claim that the film is both complex and ambivalent. Indeed it is. But in Pippin's world
of platitudes, it gets filed away, like the usual theological suspects: grace, the beautiful soul, Platonic love, Judeo-Christian redemption.
To paraphrase Whitehead, the book commits the fallacy of misplaced abstractness, for which the only worthwhile remedy (real to reel)
is less reading, more living, and a sense of humor about life's follies and absurdities. For underneath its tragic mask, film noir is comic.
No wonder I can't stop laughing the minute I read a single line from Pippin's ponderous text. It might make a great screenplay, at that.
Unfortunately, the Undergrad. Man (and Post-Modern Woman) have already co-opted it, as their PhD dissertations for film noir school.
2 of 2 people found the following review helpful.
Philosophy as Good as it Gets
By Greg Hill
One of America's best philosophers writing in plain English (wonderful style too) about a fascinating topic. Couldn't put it down. Looking forward to reading other books by Robert Pippin.
1 of 1 people found the following review helpful.
New perspective on an important part of film noir
By Tony King
I'm still reading, but it provides a really nice consideration of fatalism in film noir with a general discussion then a film by film discussion. That fatalism is an element of film noir is not new, but this goes into much more rich detail than just the statement that fatalism is part of what makes film noir film noir. I've been re-watching the films discussed after the reading about that film and it does bring a new appreciation to aspects of fatalism that might be missed on earlier watchings.
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