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Full Description
One of America's most important contemporary thinkers, Stanley Cavell's remarkable film philosophy proposed that the greatest Hollywood films reflect the struggle to become who we really are - a struggle that is foregrounded in the characteristically American theory of Emersonian perfectionism.
Focusing on his account of what makes Hollywood movies so magical, Dan Shaw draws on Cavell's theories to interpret a range of classic and contemporary dramas, including Mr Smith Goes to Washington (1939), Boys Don't Cry (1999) and The Hurt Locker (2008). Pairing of these analyses with discussions of Cavell's precursors, including Emerson, Nietzsche and Mill, the book explores a distinctively American philosophical foundation for the study of Hollywood film.
Contents
Defining The Magic: Why Stanley Cavell?
Projecting Reality
Stanley Cavell: Emersonian Individualist
Cavell on Nietzsche: The Ascetic Ideal, Eternal Recurrence and "Higher Self"
Comedies of Remarriage and the Transfiguration of the Commonplace
How the Unknown Woman Finds Her Voice in Contesting Tears
Cavell and Wittgenstein on Skepticism: Redeeming the Law
Heidegger and Cavell and Woody Allen: Another Woman
Halls of Montezuma and the Utility of War
Thoreau, Civil Disobedience and Selma
Lockean Liberalism and Mr. Smith Goes to Washington
Cavell's Notion of Acknowledgment and Boys Don't Cry
