Minerva′s Night Out – Philosophy, Pop Culture, and Moving Pictures

Acknowledgments ix
<p>Introduction: Philosophy and the Popular Arts 1</p>
<p>Section I The Philosophy of Mass Art 7</p>
<p>1 The Ontology of Mass Art 9</p>
<p>2 Modernity and the Plasticity of Perception 29</p>
<p>3 The Ties that Bind: Characters, the Emotions, and Popular Fictions 40</p>
<p>4 Character, Social Information, and the Challenge of Psychology 64</p>
<p>Section II The Philosophy of Motion Pictures 83</p>
<p>5 Movies, the Moral Emotions, and Sympathy 85</p>
<p>6 The Problem with Movie Stars 106</p>
<p>7 Cinematic Narrative 122</p>
<p>8 Cinematic Narration 133</p>
<p>9 Psychoanalysis and the Horror Film 145</p>
<p>Section III Philosophy and Popular Film 159</p>
<p>10 Philosophical Insight, Emotion, and Popular Fiction: The Case of Sunset Boulevard 161</p>
<p>11 Vertigo and the Pathologies of Romantic Love 183</p>
<p>12 What Mr Creosote Knows about Laughter 194</p>
<p>13 Memento and the Phenomenology of Comprehending Motion Picture Narration 203</p>
<p>Section IV Philosophy and Popular TV 221</p>
<p>14 Tales of Dread in The Twilight Zone: A Contribution to Narratology 223</p>
<p>15 Sympathy for Soprano 234</p>
<p>16 Consuming Passion: Sex and the City 247</p>
<p>Section V Philosophy on Broadway 267</p>
<p>17 Art and Friendship 269</p>
<p>18 Martin McDonagh s The Pillowman, or The Justification of Literature 276</p>
<p>Section VI Philosophy across Popular Culture 289</p>
<p>19 The Fear of Fear Itself: The Philosophy of Halloween 291</p>
<p>20 The Grotesque Today: Preliminary Notes toward a Taxonomy 302</p>
<p>21 Andy Kaufman and the Philosophy of Interpretation 324</p>
<p>Index 348</p>