Robert Pippin (1948- ) is a major figure in contemporary philosophy, having published influential work on thinkers including Kant, Hegel, and Nietzsche. He is also an original thinker about – and critic of – film who has written books and numerous articles on canonical subjects such as the Western, Film Noir, and Hitchcock's Vertigo. In Robert Pippin and Film, Dominic Lash demonstrates the ways that film has been crucial to Pippin's thought on important philosophical topics such as political psychology, ethics, and self-knowledge. He also explores the implications of Pippin's methodological commitments to clear language and to maintaining close contact with the details of the films in question. In so doing, Lash brings Pippin's work on film to a wider audience and contributes to current debates both within film studies and beyond. This includes those concerning the relationships between film and philosophy, criticism and aesthetics, and individual subjectivity and political consciousness. Lash focuses on Pippin's major works on film – Hollywood Westerns and American Myth (2010), Fatalism in American Film Noir (2012), The Philosophical Hitchcock (2017), and Filmed Thought (2020) as well as his many shorter writings on film.

On the surface, The Philosophical Hitchcock: Vertigo and the Anxieties of Unknowingness, is a close reading of Alfred Hitchcock’s 1958 masterpiece Vertigo. This, however, is a book by Robert B. Pippin, one of our most penetrating and creative philosophers, and so it is also much more. Even as he provides detailed readings of each scene in the film, and its story of obsession and fantasy, Pippin reflects more broadly on the modern world depicted in Hitchcock’s films. Hitchcock’s characters, Pippin shows us, repeatedly face problems and dangers rooted in our general failure to understand others—or even ourselves—very well, or to make effective use of what little we do understand. Vertigo, with its impersonations, deceptions, and fantasies, embodies a general, common struggle for mutual understanding in the late modern social world of ever more complex dependencies. By treating this problem through a filmed fictional narrative, rather than discursively, Pippin argues, Hitchcock is able to help us see the systematic and deep mutual misunderstanding and self-deceit that we are subject to when we try to establish the knowledge necessary for love, trust, and commitment, and what it might be to live in such a state of unknowingness. A bold, brilliant exploration of one of the most admired works of cinema, The Philosophical Hitchcock will lead philosophers and cinephiles alike to a new appreciation of Vertigo and its meanings.

Vieth (contemporary communications, Central Queensland U., Australia) looks at how science was portrayed in the 1950s in the medium of science fiction films. He argues that the portrayal of science can provide a three-dimensional insight into particular cultural and social contexts. After looking at the contextual elements of history, culture, and the film industry, Vieth continues with a discussion of the nature of science and the scientist looking at both the "nonhuman" sciences (i.e. those not related to the human organism) as well as medical and psychological sciences. c. Book News Inc.

Your students and users will find biographical information on approximately 300 modern writers in this volume of Contemporary Authors(R). Authors in this volume include: Quentin Crisp Marcel Duchamp Monty Python

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Finally, the metaphysical and religious dimensions of civility are explored by Robert Pippin, Adam McClellan, and Daniel Dahlstrom."--BOOK JACKET.

Evaluates the academic life, political atmosphere, and social conditions at more than one hundred of the top colleges and universities in the United States.

Covers topics in philosophy, psychology, and scientific methods. Vols. 31- include "A Bibliography of philosophy," 1933-