By Sylvie Magerstädt
Philosophy, fantasy and Epic Cinema seems on the energy of cinema in developing rules that motivate our tradition. Sylvie Magerstädt discusses the connection among artwork, phantasm and truth, a subject matter 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 glossy cinema, this debate has entered a brand new part. She discusses the idea of illusions as a process of reports and values that motivate a tradition just like different grand narratives, comparable to mythology or faith. Cinema hence turns into the postmodern “mythmaking computer” par excellence in an international that reveals it more and more tricky to create unifying strategies and confident illusions which 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 examining of mainstream Hollywood cinema. The booklet argues that our eager for phantasm is especially robust in occasions of challenge, illustrated via an exploration of the hot revival of old and epic myths in Hollywood cinema, together with movies equivalent to Troy, The Lord of the earrings Trilogy, and Clash of the Titans.
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Additional resources for Philosophy, myth, and epic cinema : beyond mere illusions
What Nietzsche describes here is the profound joy of and need for this redemption through illusion. As Giles Fraser (2002, 67) has pointed out, ‘throughout his career . . [Nietzsche] associates salvation with art’. He further outlines that for Nietzsche, life is reproduced by art in a manner in which the ‘beauty’ of its representation overshadows—or rather transfigures—the horror of its content . . Just as if we want to look directly at the sun we have to do so through some sort of darkened glass, so too, if we want to look directly at Silenian wisdom we have to do so through the transfiguring, beautifying, stylising lens of art.
In the next chapter I will analyse the role of realism in the creation of believable illusions. NOTES 1. For example, Jean-Louis Baudry has argued that watching a film is similar to dreaming as it provides an experience of regression in which the spectator finds the self reflected in the primitive, infantile state. See his essay “Ideological Effects of the Basic Cinematic Apparatus” in Film Theory and Criticism, ed. L. Braudy and M. Cohen (New York: Oxford University Press, 1999). In addition, Cinema Dreams.
Nietzsche had claimed in relation to founding myths that they must be omnipresent but unnoticed, to be truly able to benefit our life and cinema’s power of creating these 22 Chapter 1 omnipresent myths seems to be the medium to reconnect us with these healthy illusions that myths inspire. This idea is further developed in Film as Religion by John C. Lyden (2003). In this work, he analyses the relationship between cinema and faith from the perspective of a theologian. Similarly to Martin and Ostwalt, he states that film theorists as well as theologians have long failed to notice just how much people draw their ideas and worldviews from sources that we would not commonly call ‘religious’.
Philosophy, myth, and epic cinema : beyond mere illusions by Sylvie Magerstädt