Description
Book Synopsis At the heart of this volume is the assertion that Sartrean existentialism, most prominent in the 1940s, particularly in France, is still relevant as a way of interpreting the world today. Film, by reflecting philosophical concerns in the actions and choices of characters, continues and extends a tradition in which art exemplifies the understanding of existentialist philosophy. In a scholarly yet accessible style, the contributors exploit the rich interplay between Sartre’s philosophy, plays and novels, and a number of contemporary films including No Country for Old Men, Lost in Translation and The Truman Show, with film-makers including the Dardenne brothers, Michael Haneke, and Mike Leigh. This volume will be of interest to students who are coming to Sartre’s work for the first time and to those who would like to read films within an existentialist perspective.
Trade Review “One of the strengths of the volume overall is the breadth of approaches to and applications of Sartrean thinking, from the personal and political to the atheistic and artistic. There is also a refreshing selection of films under consideration…their edited collection is very welcome evidence in support of the proposition that thinking about Sartre and film together can produce stimulating and insightful film philosophy.” · Journal of Contemporary European Studies
“As someone who teaches both French cinema and existentialism courses, I would expect students of existentialism in particular to be enthusiastic about discussing this intersection of familiar concepts and such recent films. The essays are thoughtful, informed and illuminating. While some of the interpretations of the philosophy, and at times of Sartre’s imaginative texts, may be unorthodox, students and scholars will find much here with which to reflect and engage. Collectively, they certainly demonstrate the richness of an existentialist interrogation of meaning and purposefulness of action in the world, and the extent to which contemporary cinema continues to prove fertile material for philosophical enquiry.” · H-France
"All of the essays here are fine pieces in their own right, and the collection certainly succeeds in its aim of showing the relevance of Sartre for the study of contemporary cinema. It whets the appetite for a more systematic consideration of what a Sartrean approach to cinema might be" · Modern & Contemporary France
“[This volume] will provide a useful tool, in particular for students seeking to learn about Sartre and existentialism but also for students exploring the application of philosophy to the understanding of cinema.” · Douglas Morrey, University of Warwick
Table of Contents Acknowledgements
Introduction
Jean-Pierre Boulé and Enda McCaffrey
PART I: THE CALL TO FREEDOM
Chapter 1. Peter Weir’s The Truman Show and SartreanFreedom
Christopher Falzon
Chapter 2. Michael Haneke and the Consequences of Radical Freedom
Kevin L. Stoehr
Chapter 3. Naked, Bad Faith and Masculinity
Mark Stanton
Chapter 4. Pursuits of Transcendence in The Man Who Wasn’t There
Tom Martin
Chapter 5. Lorna’s Silence: Sartre and the Dardenne Brothers
Sarah Cooper
PART II: FILMS OF SITUATION
Chapter 6. Being–Lost in Translation
Michelle R. Darnell
Chapter 7. If I Should Wake Before I Die: Existentialism as a Political Call to Arms in The Crying Game
Tracey Nicholls
Chapter 8. Crimes of Passion, Freedom and a Clash of Sartrean Moralities in the Coen Brothers’ No Country for Old Men
Enda McCaffrey
Chapter 9. ‘An Act of Confidence in the Freedom of Men’: Jean-Paul Sartre and Ousmane Sembene
Patrick Williams
Chapter 10. Cédric Klapisch’s The Spanish Apartment and Russian Dolls in Nausea’s Mirror
Jean-Pierre Boulé
Chapter 11. Baz Luhrmann’s William Shakespeare’s Romeo + Juliet: The Nauseous Art of Adaptation
Alistair Rolls
Notes on Contributors
Index
