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Film and Philosophy

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101.	Film and Philosophy: Volume > 18 Richard Nunan Film as Philosophy in Memento: Reforming Wartenberg’s Imposition Objection view \| rights & permissions \| cited by	SHARE


102.	Film and Philosophy: Volume > 18 Emma Bell Grief Time: Feeling Philosophy in Inception view \| rights & permissions \| cited by	SHARE


103.	Film and Philosophy: Volume > 18 Fabio Bacchini Conflicting Moral Arguments in Pedro Almodóvar’s Hable con Ella view \| rights & permissions \| cited by	SHARE


104.	Film and Philosophy: Volume > 18 Alain Beauclair I Have Been And Always Shall Be Your Friend view \| rights & permissions \| cited by	SHARE


105.	Film and Philosophy: Volume > 18 Sander Lee The Moral Implications of Gettysburg view \| rights & permissions \| cited by	SHARE


106.	Film and Philosophy: Volume > 18 Daniel Wack How Movies Do Philosophy view \| rights & permissions \| cited by	SHARE


107.	Film and Philosophy: Volume > 18 C. Paul Sellors What in the World Distinguishes Fiction from Nonficton Film? view \| rights & permissions \| cited by	SHARE


108.	Film and Philosophy: Volume > 18 Vernon Cisney The Madness of God: The Schizosign in Shutter Island view \| rights & permissions \| cited by	SHARE


109.	Film and Philosophy: Volume > 18 Joseph Kupfer Wonder Boys: Righting Our Lives by Writing the Story view \| rights & permissions \| cited by	SHARE


110.	Film and Philosophy: Volume > 18 Shawn Loht Film as Ethical Philosophy, and the Question of Philosophical Arguments in Film: A Reading of The Tree of Life view \| rights & permissions \| cited by	SHARE


111.	Film and Philosophy: Volume > 17 Dan Shaw Editor’s Introduction view \| rights & permissions \| cited by	SHARE


112.	Film and Philosophy: Volume > 17 Ian Schnee Ideology, Socratic elenchus, and Inglourious Basterds view \| rights & permissions \| cited by	SHARE


113.	Film and Philosophy: Volume > 17 Richard Gilmore The Existential Hitchcock view \| rights & permissions \| cited by	SHARE


114.	Film and Philosophy: Volume > 17 Jay R. Elliott The Meaning of Life and the “Pottersville Test”: A Reply to Aaron Smuts view \| rights & permissions \| cited by	SHARE


115.	Film and Philosophy: Volume > 17 Aaron Smuts Reply to Elliott: In Defense of the Good Cause Account view \| rights & permissions \| cited by	SHARE


116.	Film and Philosophy: Volume > 17 Jay R. Elliott The Last Word on Pottersville view \| rights & permissions \| cited by	SHARE


117.	Film and Philosophy: Volume > 17 Jordan Schummer Imagination and Film view \| rights & permissions \| cited by	SHARE


118.	Film and Philosophy: Volume > 17 Richard Nunan Gender Tourism in Feature Films: The Case of Transamerica view \| rights & permissions \| cited by	SHARE


119.	Film and Philosophy: Volume > 17 Sam Shpall The Men of Talk to Her view \| rights & permissions \| cited by	SHARE


120.	Film and Philosophy: Volume > 17 Shawn Loht Film as Heideggerian Art?: A Reassessment of Heidegger, Film, and His Connection to Terrence Malick view \| rights & permissions \| cited by	SHARE

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