By Sylvie Magerstädt
Philosophy, fantasy and Epic Cinema appears to be like on the strength of cinema in growing rules that encourage our tradition. Sylvie Magerstädt discusses the connection among artwork, phantasm and fact, a subject that has been a part of philosophical debate for hundreds of years. She argues that with the rise in use of electronic applied sciences in smooth cinema, this debate has entered a brand new section. She discusses the proposal of illusions as a approach of reports and values that encourage a tradition just like different grand narratives, comparable to mythology or faith. Cinema hence turns into the postmodern “mythmaking desktop” par excellence in a global that unearths it more and more tricky to create unifying innovations and optimistic illusions that could encourage and provides hope.
The writer attracts at the paintings of Friedrich Nietzsche, Siegfried Kracauer, and Gilles Deleuze to illustrate the relevance of continental philosophy to a analyzing of mainstream Hollywood cinema. The booklet argues that our eager for phantasm is especially powerful in occasions of difficulty, illustrated via an exploration of the hot revival of historical and epic myths in Hollywood cinema, together with movies resembling Troy, The Lord of the earrings Trilogy, and Clash of the Titans.
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Extra resources for Philosophy, Myth and Epic Cinema: Beyond Mere Illusions
In this context, the notion of superficiality plays an essential part in his thought. Nietzsche interprets this superficiality not as trivial and ignorant, but as a superficiality resulting from a deeper knowledge of the world. In his preface to The Gay Science, Nietzsche (2001, 8) summarizes this thought as follows: ‘Oh, those Greeks! They knew how to live: what is needed for that is to stop bravely at the surface, the fold, the skin; to worship appearance, to believe in shapes, tones, words—in the whole Olympus of appearance!
In this context, he looks at ways in which film can offer ‘methods for dealing with suffering and injustice, and how it presents an alternate reality in which we participate during the viewing experience. The viewer may be well aware of the artificial nature of this filmic reality, and yet it still has the power to affect the way we think and act in the reality that exists outside the cinema’ (Lyden 2003, 4). I have tried to explore this notion of a conscious awareness of an illusion throughout this chapter, and Lyden adds to this debate by suggesting that just because we know that a story is fictional, this does not imply that it cannot inspire us in any way; quite the contrary, as Nietzsche had shown.
Allen challenges various discourses in film theory, such as auteur theory and ideological criticism, and argues that they are often based on these false premises. In relation to ideological criticism, he states that film theory often failed to acknowledge that even though all cultural and social exchange is based on values and norms, this does not necessar- 26 Chapter 1 ily mean that people lose their freedom to decide or that their entire life is dominated by those ideologies. In addition, Allen criticizes the assumption that ideological beliefs are ipso facto false beliefs.