Have you ever thought about the philosophical concepts inherent in contemporary movies? Join us for intriguing discussions linking film and philosophy.
Philosopher and author Dr. Robert Arp discusses how Kurt Vonnegut's novel Slaughterhouse-Five explores the concept of time as a fourth dimension, challenging traditional notions of pain, suffering, and tragedy.
16 Dec 2024
The Missiles of October
What does this 1973 made for TV docudrama tell us about the Cuban Missile Crisis and the events that led to Soviet introduction of intermediate range nuclear armed ballistic missiles into that island nation? What were the justifications cited by Khrushchev? Why is Cuban leadership not portrayed in the film? How did the history of Cuban U.S. relations lead to the crisis? How does the film use ambassador Adlai Stevenson’s presentation of this case to show Kennedy’s style of decision making? What role did the failed Bay of Pigs invasion play in bringing about the crisis? What role did attempted assassinations of Castro play? How does this film portray the Kennedy brothers, John and Robert? Did John Kennedy’s desire to appear tough, in light of his treatment by Khrushchev at earlier summit meetings, motivate him to carry out the invasion? How does the film show Kennedy’s team using a strategy of ‘gradual escalation’ to deal with the crisis? What impact did its success in this case have upon Johnson Administration strategy in Vietnam? What does the film teach us about the unique and awesome responsibilities of the office of President of the United States?
1 Nov 2024
A Ghost Story
How does this 2017 film explore grief, and how does it make use of the ghost, C’s, being almost unmoored in time to express grief? Why is the ghost tied tightly to the house and its location, even as he jumps around in time? Who or what is the neighboring house’s ghost waiting for? Why does the film use an aspect ratio that is reminiscent of home movies or early silent film? How does the film’s implicit metaphysics contrast with and contest the nihilistic or absurdist message of the ‘hipster’ man at the party, who argues that attempts at leaving legacies are ultimately pointless, due to the fate of planet Earth, and ultimately, the universe as a whole? What was the content of the note that C’s wife, M, leaves tucked away in the house as she moves out, that seems to allow C to move on? Does the fact that, before he died, he wrote a song expressing his concern that M will forget about him show that he, at some level, knew he would die in the near term? Does her note address this concern of his?
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