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Full Description
In Movies with Stanley Cavell in Mind, some of the scholars who have become essential for our understanding of Stanley Cavell's writing on film gather to use his landmark contributions to help us read new films—from Hollywood and elsewhere—that exist beyond his immediate reach and reading. In extending the scope of Cavell's film philosophy, we naturally find ourselves contending with it and amending it, as the case may be. Through a series of interpretive vignettes, the group effort situates, for the expert and novitiate alike, how Cavell's writing on film can profitably enrich one's experience of cinema generally and also inform how we might continue the practice of serious philosophical criticism of specific films mindful of his sensibility. The resulting conversations between texts, traditions, disciplines, genres, and generations creates propitious conditions for discovering what it means to watch and listen to movies with Stanley Cavell in mind.
Contents
Foreword
The Importance of Stanley Cavell for the Study of Film
Sandra Laugier
Introduction
The Seriousness of Film Sustained
David LaRocca
I. The Companionship of Film and Philosophy
1. Love and Class in Douglas Sirk's All That Heaven Allows
Robert B. Pippin
2. Lévinas, Cavell, and the Films of the Dardenne Brothers
William Rothman
3. The Specter of the Electronic Screen: Bruno Varela's Reception of Cavell
Byron Davies
II. Recollecting and Remembering
4. The Pertinence of the Stars: Achieving Mortality in Little Did I Know and Only Angels Have Wings
Steven G. Affeldt
5. In Praise of Cinema: Cavell, Arnaud Desplechin, and Telling What Counts in Trois souvenirs de ma jeunesse
Joseph Mai
III. Rethinking Remarriage
6. Morality and Recognition: A Cavellian Reading of Elaine May's A New Leaf
Paul Schofield
7. Remarriage Comedy, the Next Generation: The Bold Pursuit of Happiness
K. L. Evans
IV. The Female Voice Heard Anew
8. Passionate Utterances: Cavell, Film, and the Female Voice
Catherine Wheatley
9. Cavell, Altman, Cassavetes: The Melodrama of the Unknown Woman in A Woman Under the Influence and Nashville
Charles Warren
V. Contending with Conditions, Human and Otherwise
10. Stanley Kubrick and Stanley Cavell: Cinematic Syntax, Avoidance, and Acknowledgment
David Mikics
11. The Use and Abuse of Documentary Confessionals: Cavell, Žižek, and the Possibility of Justice in The Unknown Known and The Act of Killing
Amir Khan
12. Pursuits of Happiness in the Time of War: On Borhane Alaouié's Beirut: The Encounter
Daniele Rugo
VI. Visibility, Audibility, and Intelligibility
13. Chantal Akerman and Stanley Cavell: Viewing in La Captive and Reviewing in Moral Perfectionism
Kate Rennebohm
14. Contemplating the Sounds of Contemplative Cinema: Stanley Cavell and Kelly Reichardt
David LaRocca
Acknowledgments
Contributors
Index
