{"product_id":"what-film-is-good-for-9780520386815","title":"What Film Is Good For","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContents\u003cbr\u003e\u003cbr\u003e Acknowledgments \u003cbr\u003e Foreword by Mike Figgis \u003cbr\u003e\u003cbr\u003e Introduction: Film Ethics as Delivering the Goods \u003cbr\u003e Martin P. Rossouw and Julian Hanich\u003cbr\u003e\u003cbr\u003e PART ONE. ADAPTIVE GOODS\u003cbr\u003e 1. . . . A Portal to Another World: On Cinema, Climate Change, and a Good Apocalypse \u003cbr\u003e Jennifer Fay\u003cbr\u003e 2. . . . Scaling Down: On the Unsustainable Pleasure of Large-File Streaming \u003cbr\u003e Laura U. Marks\u003cbr\u003e 3. . . . It’s Invaluable: On Film Spectatorship in the Era of Covid-19 \u003cbr\u003e Sarah Cooper\u003cbr\u003e 4. . . . Stabilities and Mobilities: On the Generic Values of Emplacements, Displacements, \u003cbr\u003e and Outplacements \u003cbr\u003e Timothy Corrigan\u003cbr\u003e\u003cbr\u003e PART TWO. EMPATHETIC GOODS \u003cbr\u003e 5. . . . Lies, Loops, or Liberation: On the Dis\/Obedience of Feeling More \u003cbr\u003e Michele Aaron\u003cbr\u003e 6. . . . Public Engagement: On Postcolonial African Cinema’s Critical Value \u003cbr\u003e Litheko Modisane\u003cbr\u003e 7. . . . Shedding Light on Abject Lives: On Global Cinema as Ethical Art \u003cbr\u003e Seung-hoon Jeong\u003cbr\u003e 8. . . . Empathy: On Its Limitations and Liabilities \u003cbr\u003e Malcolm Turvey\u003cbr\u003e 9. . . . Political Impact: On the Societal Vibrancy of Film \u003cbr\u003e Jens Eder\u003cbr\u003e\u003cbr\u003e PART THREE. SENSTITIVE GOODS \u003cbr\u003e 10. . . . Moral Reflection: On the Reflective Afterlife of Screen Stories \u003cbr\u003e Carl Plantinga and Garrett Strpko\u003cbr\u003e 11. . . . Challenge and Discomfort: On Situated Elitist Pleasures in Art and Indie Film \u003cbr\u003e Geoff King\u003cbr\u003e 12. . . . Heterocosmic Connections: On the Many Worlds and World Values of Cinema \u003cbr\u003e Daniel Yacavone\u003cbr\u003e 13. . . . Depth of Experience: On Early Phenomenology and the Value of Boredom in the Cinema \u003cbr\u003e Christian Ferencz-Flatz\u003cbr\u003e 14. . . . Striking Beauty: On Recuperating the Beautiful in Cinema \u003cbr\u003e Julian Hanich\u003cbr\u003e\u003cbr\u003e PART FOUR. REVIVING GOODS \u003cbr\u003e 15. . . . Wondering Offscreen: On Cinema’s Transformations of Our Relation to the Unseen \u003cbr\u003e Jaimie Baron\u003cbr\u003e 16. . . . Coming to Wonder: On Cinema’s Renewal of Vision \u003cbr\u003e Catherine Wheatley\u003cbr\u003e 17. . . . Moral Improvement: On How Watching Films Might Make Us Better People \u003cbr\u003e Thomas E. Wartenberg\u003cbr\u003e 18. . . . Cinematic Ethics: On Film as Transformative Experience \u003cbr\u003e Robert Sinnerbrink\u003cbr\u003e 19. . . . Spiritual Exercises Before a Screen: On “Film as Philosophy” and Its Transformational \u003cbr\u003e Ethics \u003cbr\u003e Martin P. Rossouw\u003cbr\u003e\u003cbr\u003e PART FIVE. COMMUNAL GOODS \u003cbr\u003e 20. . . . Remembrance and Reflection: On Social Justice Cinema in the #BlackLivesMatter Era \u003cbr\u003e Maryann Erigha Lawer\u003cbr\u003e 21. . . . Making Movie Generations: On the Cultural Work of Hollywood Remaking \u003cbr\u003e Kathleen Loock\u003cbr\u003e 22. . . . Reaching Unlettered Audiences: On Global Blockbuster Cinema and Its Oral Affinities \u003cbr\u003e Sheila J. Nayar\u003cbr\u003e 23. . . . Love of Community and Reality: On André Bazin and the Good of Cinema \u003cbr\u003e Dudley Andrew\u003cbr\u003e\u003cbr\u003e PART SIX. MEDIAL GOODS \u003cbr\u003e 24. . . . Projection and Protection: On Cinemagoing as Playing Hide-and-Seek with Reality \u003cbr\u003e Francesco Casetti\u003cbr\u003e 25. . . . An Animated and Animating Medium: On Hegel,Adorno, and the Good of Film \u003cbr\u003e Nicholas Baer\u003cbr\u003e 26. . . . The Bigger Picture: On Watching Films on a Cinema Screen \u003cbr\u003e Martine Beugnet\u003cbr\u003e 27. . . . Quality Time: On Resisting What’s Next, or Staying with the Credits \u003cbr\u003e Tiago de Luca\u003cbr\u003e\u003cbr\u003e PART SEVEN. UNSETTLED GOODS \u003cbr\u003e 28. . . . Wanton Destruction: On Cinema’s Antisocial Thrills \u003cbr\u003e Adrian Martin\u003cbr\u003e 29. . . . Alienating Interventions: On What the “Bad” in David Lynch’s Films Is “Good” For \u003cbr\u003e Annie van den Oever and Dominique Chateau\u003cbr\u003e 30. . . . Dangerous Situations: On Whether Cinema Is Poisonous \u003cbr\u003e Michel Chion\u003cbr\u003e 31. . . . Good for Nothing? On How Films Help Us through the Night \u003cbr\u003e Tom Gunning\u003cbr\u003e 32. . . . Medium-Sized Matters: On Whether Cinema Has Made Any Difference \u003cbr\u003e Mark Cousins\u003cbr\u003e\u003cbr\u003e Afterword by Radu Jude \u003cbr\u003e List of Contributors \u003cbr\u003e Index \u003cbr\u003e  ","brand":"University of California Press","offers":[{"title":"Default Title","offer_id":49402959659351,"sku":"9780520386815","price":22.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780520386815.jpg?v=1730481967","url":"https:\/\/bookcurl.com\/products\/what-film-is-good-for-9780520386815","provider":"Book Curl","version":"1.0","type":"link"}