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Gölge Felsefe : Platon’un Mağarası ve Sinema
Nathan Andersen, Stanley Kubrick’in Otomatik Portakal’ını Platon’un Devlet’iyle felsefi bir sohbete sokarak deneyim ve anlamın doğası, adaletin karakteri, görünüş ile gerçeklik arasındaki karşıtlık, sanatın önemi ve görüntülerin etkisi gibi temalara katkılarını mukayese ediyor. Ve bunu akademik jargonun ağırlığından uzak, “herkes”in anlayabileceği bir dille yapıyor. Devlet eseriyle Otomatik Portakal filminin bazı başat imgelerini ve fikirlerini inceleyip ilişkilendirmesinin sebebi, tarihsel mesafelerine rağmen, tasvir ettikleri ve inceledikleri endişelerin yelpazesinde dikkate değer yakınlıkları paylaşmalarıdır. Otomatik Portakal’dan edinilen bilgileri Devlet’ten çıkarsanan bilgilerle diyaloğa sokmak, filmin gerçeklik ve özgürlük, adalet, ahlak ve sanat sorunlarına verdiği cevabın çoğu kişinin düşündüğü kadar basit ya da belirsiz olmadığını göstermektedir.
Gölge Felsefe, film felsefesine (filmozofi) kesinlikle özgün bir katkı sunuyor.
Gölge Felsefe, film felsefesine (filmozofi) kesinlikle özgün bir katkı sunuyor.
- GenresPhilosophyNonfiction
208 pages, Paperback
First published January 1, 2014
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72 people want to read
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Displaying 1 - 4 of 4 reviews
October 29, 2024
Socrates Meets Alex
On the face of it, Plato's "Republic" seems to have little in common with Stanley Kubrick's 1971 film "A Clockwork Orange", separated from it by two and one-half millennia and using technology of which Plato hadn't a clue. Still, Nathan Andersen's fascinating book, "Shadow Philosophy: Plato's Cave and Cinema" works valiantly to relate the wise, temperate Socrates of Plato's "Republic" with the vicious Alex, the protagonist of Kubrick's "Clockwork Orange". In the process, Andersen shows how film can be a source for philosophical thinking. It is valuable to show how philosophical reflection arises from human experience including the widely-shared experience of going to the movies, and is far broader in scope that seemingly abstract and endless discussion in a classroom. Andersen is a professor of both philosophy and film studies at Eckerd College, Florida, where he also directs and international film series and an environmental film festival. Andersen kindly made his book available to me for review.
Andersen's book examines in detail two sources rather than taking a broad look at many. He also tries to look at film from the inside, from the perspective of people gathered together in a theater, popcorns and sodas in hand, to watch a movie and then to talk afterwards about what they thought. Thus, with the "Clockwork Orange" Andersen discusses many of the cinematographic features of the film, such as camerawork, lighting, props, sequencing, and music before plunging into philosophical concepts. The goal is to show how philosophical reflection arises from within watching a good movie as opposed to being engrafted from outside.
Andersen juxtaposes Plato with Kubrick. Following a chapter showing the formidable cinematographic technique of "A Clockwork Orange", Andersen offers a chapter on the much more formidable work of Plato in his allegory of the cave from "The Republic". He draws enticing parallels. Plato's allegory suggests that most people spend their lives pursuing shadows in a cave with little understanding of the reality beyond the walls. Film is a shadowy, flickering medium with those watching a movie in a position similar to that of Plato's prisoners. Andersen teases out a creative interpretation of Plato's allegory and shows how it helps both understanding the movie experience and the everyday human experience.
Andersen also describes the many troubling issues raised by Kubrick's film in terms of understanding what is good in human life and the nature of freedom and autonomy. He also discusses the aspects of the movie, including its parade of violence and sexually abusive scenes that Plato certainly would have found offensive and which led him to suggest in "The Republic" the banning of poets from his ideal state. Andersen focuses on the famous scene from the film in which Alex, imprisoned for a murder, is strapped in a chair to watch films of violence in a process called the "Ludovic technique" (with an allusion to Ludwig van Beethoven of whom Alex is fond). Alex's violent tendencies are seemingly cured but at the high price of autonomy and freedom. Again, Andersen brings Plato to bear to draw parallels between his thought in the "Republic" and the metaphysical and ethical issues that Kubrick develops in the film.
I thought the book succeeded, with little forcing, in drawing parallels between Plato and Kubrick, and between their two primary characters, Socrates and Alex. I thought it was effective as well to concentrate on a single film. Andersen points out that worthwhile films, as worthwhile novels, will each bear separate consideration. It is valuable to think closely about one case rather than superficially about many. The book is written for readers with little background in philosophy. The discussion of Plato was insightful and might encourage readers to explore Plato for themselves. I have considerable background with Plato but didn't know "A Clockwork Orange." The book encouraged me to watch the film and helped me in my understanding.
This book includes a short list of suggested films, a brief glossary of terms used in both film and philosophy, and a short summary of each of the ten books of the "Republic". Most people are likely to enjoy watching movies more than they enjoy reading philosophy. This book may broaden appreciation of both. It will encourage readers to see movies in a philosophical and reflective way.
Robin Friedman
On the face of it, Plato's "Republic" seems to have little in common with Stanley Kubrick's 1971 film "A Clockwork Orange", separated from it by two and one-half millennia and using technology of which Plato hadn't a clue. Still, Nathan Andersen's fascinating book, "Shadow Philosophy: Plato's Cave and Cinema" works valiantly to relate the wise, temperate Socrates of Plato's "Republic" with the vicious Alex, the protagonist of Kubrick's "Clockwork Orange". In the process, Andersen shows how film can be a source for philosophical thinking. It is valuable to show how philosophical reflection arises from human experience including the widely-shared experience of going to the movies, and is far broader in scope that seemingly abstract and endless discussion in a classroom. Andersen is a professor of both philosophy and film studies at Eckerd College, Florida, where he also directs and international film series and an environmental film festival. Andersen kindly made his book available to me for review.
Andersen's book examines in detail two sources rather than taking a broad look at many. He also tries to look at film from the inside, from the perspective of people gathered together in a theater, popcorns and sodas in hand, to watch a movie and then to talk afterwards about what they thought. Thus, with the "Clockwork Orange" Andersen discusses many of the cinematographic features of the film, such as camerawork, lighting, props, sequencing, and music before plunging into philosophical concepts. The goal is to show how philosophical reflection arises from within watching a good movie as opposed to being engrafted from outside.
Andersen juxtaposes Plato with Kubrick. Following a chapter showing the formidable cinematographic technique of "A Clockwork Orange", Andersen offers a chapter on the much more formidable work of Plato in his allegory of the cave from "The Republic". He draws enticing parallels. Plato's allegory suggests that most people spend their lives pursuing shadows in a cave with little understanding of the reality beyond the walls. Film is a shadowy, flickering medium with those watching a movie in a position similar to that of Plato's prisoners. Andersen teases out a creative interpretation of Plato's allegory and shows how it helps both understanding the movie experience and the everyday human experience.
Andersen also describes the many troubling issues raised by Kubrick's film in terms of understanding what is good in human life and the nature of freedom and autonomy. He also discusses the aspects of the movie, including its parade of violence and sexually abusive scenes that Plato certainly would have found offensive and which led him to suggest in "The Republic" the banning of poets from his ideal state. Andersen focuses on the famous scene from the film in which Alex, imprisoned for a murder, is strapped in a chair to watch films of violence in a process called the "Ludovic technique" (with an allusion to Ludwig van Beethoven of whom Alex is fond). Alex's violent tendencies are seemingly cured but at the high price of autonomy and freedom. Again, Andersen brings Plato to bear to draw parallels between his thought in the "Republic" and the metaphysical and ethical issues that Kubrick develops in the film.
I thought the book succeeded, with little forcing, in drawing parallels between Plato and Kubrick, and between their two primary characters, Socrates and Alex. I thought it was effective as well to concentrate on a single film. Andersen points out that worthwhile films, as worthwhile novels, will each bear separate consideration. It is valuable to think closely about one case rather than superficially about many. The book is written for readers with little background in philosophy. The discussion of Plato was insightful and might encourage readers to explore Plato for themselves. I have considerable background with Plato but didn't know "A Clockwork Orange." The book encouraged me to watch the film and helped me in my understanding.
This book includes a short list of suggested films, a brief glossary of terms used in both film and philosophy, and a short summary of each of the ten books of the "Republic". Most people are likely to enjoy watching movies more than they enjoy reading philosophy. This book may broaden appreciation of both. It will encourage readers to see movies in a philosophical and reflective way.
Robin Friedman
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February 14, 2022Ne yazık ki korkunç bir çeviri.
March 23, 2023
Allegory of the Cave and Philosophy of Cinema
Plato, with the cave he founded, we all know that he actually told about his teacher Socrates. Socrates, a philosopher who was sentenced to death for his ideas, lit a fire in Plato, and Plato created a great social-philosopher equation through that fire. here is the shadow philosophy, another name for this equation.
To explain this equation, Plato considers society and social consciousness as a dark cave in which every human being is a prisoner from birth. Even though a person grows up, he thinks about whatever social attitude and behavior or even thought requires. that's why he describes Socrates as the burning fire inside that cave. a person who is a prisoner from birth, together with the society in which he is (because he has never been able to see the truth), thinks that the shadow game projected on the wall they are looking at is the truth itself. and they substitute themselves by constantly watching that shadow play. also, since legislators apply rules that even they themselves do not follow with shackles to the neck, hands, feet of the crowd watching the shadow game, no one wonders what this is that we think is real. because at that moment, a reflex has been formed, such as accepting your fate. at this point, Plato distinguishes between the philosopher and society. because the philosopher says that he broke himself from his chains, pursued the true light, and after coming out of the cave (although there was a little light problem at first), he got used to the truth and began to live the truth. in the shadow game played with fire, fire is a simulation. because the real fire is Socrates himself. just like the light. at this point, it is quite accurate that what is happening in the cave today has been likened to a movie, because we are experiencing the same process there for a few hours as a method. but the only difference is that we are aware that what we are watching is fake, that the truth will start after we get out of here.
The subject is examined with such a beautiful animation.
youtu.be/d2afuTvUzBQ
There has been a lot of discussion on this topic, "Is film art?" the answer to the question has been sought.
When I watch Kubrick films, I honestly think that film is art. however, it is also wrong to call every film art. this should only apply to some movies.
The author Nathan Andersen also examined this philosophy through the Automatic Orange film and introduced the term philosophical-film to world culture. It is a very beautiful work, I recommend reading it.
Plato, with the cave he founded, we all know that he actually told about his teacher Socrates. Socrates, a philosopher who was sentenced to death for his ideas, lit a fire in Plato, and Plato created a great social-philosopher equation through that fire. here is the shadow philosophy, another name for this equation.
To explain this equation, Plato considers society and social consciousness as a dark cave in which every human being is a prisoner from birth. Even though a person grows up, he thinks about whatever social attitude and behavior or even thought requires. that's why he describes Socrates as the burning fire inside that cave. a person who is a prisoner from birth, together with the society in which he is (because he has never been able to see the truth), thinks that the shadow game projected on the wall they are looking at is the truth itself. and they substitute themselves by constantly watching that shadow play. also, since legislators apply rules that even they themselves do not follow with shackles to the neck, hands, feet of the crowd watching the shadow game, no one wonders what this is that we think is real. because at that moment, a reflex has been formed, such as accepting your fate. at this point, Plato distinguishes between the philosopher and society. because the philosopher says that he broke himself from his chains, pursued the true light, and after coming out of the cave (although there was a little light problem at first), he got used to the truth and began to live the truth. in the shadow game played with fire, fire is a simulation. because the real fire is Socrates himself. just like the light. at this point, it is quite accurate that what is happening in the cave today has been likened to a movie, because we are experiencing the same process there for a few hours as a method. but the only difference is that we are aware that what we are watching is fake, that the truth will start after we get out of here.
The subject is examined with such a beautiful animation.
youtu.be/d2afuTvUzBQ
There has been a lot of discussion on this topic, "Is film art?" the answer to the question has been sought.
When I watch Kubrick films, I honestly think that film is art. however, it is also wrong to call every film art. this should only apply to some movies.
The author Nathan Andersen also examined this philosophy through the Automatic Orange film and introduced the term philosophical-film to world culture. It is a very beautiful work, I recommend reading it.
November 12, 2020
Kesinlikle kitaplığımda bulunan en değerli eserlerden biri. Platon ile otomatik portakal'ın birlikteliği.
Displaying 1 - 4 of 4 reviews