Filmosophy is a provocative new manifesto for a radically philosophical way of understanding cinema. It coalesces twentieth-century ideas of film as thought (from Hugo MUnsterberg to Gilles Deleuze) into a practical theory of "film-thinking," arguing that film style conveys poetic ideas through a constant dramatic "intent" about the characters, spaces, and events of film. Discussing contemporary filmmakers such as BEla Tarr and the Dardenne brothers, this timely contribution to the study of film and philosophy will provoke debate among audiences and filmmakers alike.
‘You hold in your hands an extremely daring book. Filmosophy does not present a philosophy of film, nor does it explore how film contributes material for philosophical interpretation. Rather, in a lucid and clear style, Daniel Frampton argues that film is philosophy; it is itself, aesthetically, philosophical expression – a medium for thinking – and an accompaniment to thought. In conceptualising film as an "organic intelligence", Frampton draws from the lessons of both Gilles Deleuze and Stanley Cavell to propose one of the most original film philosophies of the last thirty years.’ D. N. RODOWICK, HARVARD UNIVERSITY
‘Filmosophy is a provocative and significant intervention in the contemporary dialogue about the cinema as manifest philosophy, expressed in both thought and action. Frampton’s expansive rhetoric is refreshing, his film references eclectic and his prose a pleasure to read.’ VIVIAN SOBCHACK, UNIVERSITY OF CALIFORNIA, LOS ANGELES
‘The link between philosophy and cinema is one of the most fertile areas of contemporary film studies. Filmosophy establishes a vocabulary and an original perspective for understanding that link. New cinematic forms require new ways of thinking; indeed, this book suggests that these forms are new ways of thinking. Powerfully and provocatively, Filmosophy revises what we thought we knew about cinema, and asks us to look again at what cinema might know about us.’ COLIN DAVIES, ROYAL HOLLOWAY, UNIVERSITY OF LONDON
‘A thorough and detailed defense of the idea that cinema is itself a kind of mind – that film thinks in its own way, merging with the thought of the filmgoer. And although the general idea that movies and the mind share essential features has been around since cinema was invented, Frampton develops it with great erudition and care, leading us to experience film as it should be experienced – as a unique form of consciousness.’ COLIN McGINN, RUTGERS UNIVERSITY
‘Frampton’s striking thesis is that film should be understood as "minded" – that it expresses thoughts, intentions and emotions about the world it depicts. This position is elaborated in detail in Filmosophy, and presented with great originality and subtlety. As the author himself points out, his approach has a number of antecedents in the history of film theory, but such a position has never been defended with the theoretical power and the illustrative detail that is contained in this remarkable volume.’ GEORGE M. WILSON, UNIVERSITY OF SOUTHERN CALIFORNIA
‘Filmosophy offers a sympathetic and persuasive argument in favour of a new engagement with film which sweeps aside the shibboleths of current film studies and returns the spectator to a position of empathetic involvement with the filmgoing experience, mapping out a poetic-philosophical approach so different from the prosaic aridity of much writing on film. There is no doubting the originality of Filmosophy, or the fact that it constitutes a major contribution to the philosophy of film.’ GEOFFREY NOWELL-SMITH, QUEEN MARY, UNIVERSITY OF LONDON
‘Filmosophy, a sprightly treatment of the ways that cinema makes us think, tells us why cinephilia is deeply rooted in perception and reflection. When Frampton tells us "the thinking of a film should be seen as free and fluid" he brings his readers to the threshold of creative criticism. Every reader will appreciate the energy, force and breadth of the author’s appreciation of cinema.’ TOM CONLEY, HARVARD UNIVERSITY
Filmosophy is a decidedly continental approach to film- philosophising, drawing heavily on the writings of Deleuze, Heidegger and Nietzsche. Frampton seeks to transform audiences from passive viewers into active co-creators of the cinematic experience, while leveling a withering critique of the cognitivism that dominates Anglo-American philosophy of film. His neologisms are both witty and to the point, and his film readings are not to be missed.’ DAN SHAW, LOCK HAVEN UNIVERSITY
‘An ambitious attempt to outline a new way of thinking about cinema, Filmosophy also gives a sympathetic and often perceptive account of Deleuze’s position, seeking to justify his contention that film is a form of thought. Its publication will make a valuable contribution to the debate about the contemporary understanding of cinema.’ IAN CHRISTIE, BIRKBECK COLLEGE, UNIVERSITY OF LONDON
‘Frampton’s concepts of "film-thinking" and the "filmind" strike me as brilliant, as timely (in response to contemporary cinema), and as evocative and explanatory. Gritty, impassioned and engaged, Filmosophy challenges its readers to think afresh their experience in the cinema.’ EMMA WILSON, CORPUS CHRISTI COLLEGE, CAMBRIDGE UNIVERSITY
About the Author: Daniel Frampton is a London-based writer and filmmaker and the founding editor of the online salon-journal, Film-Philosophy.com.