Film and Philosophy: Issues in Melodrama

The general question to be addressed: might film (fictional narratives or “movies”) be a reflective form of thought, and if so, might that form of reflection be considered a philosophical one? The genre to be interrogated with this question in mind will be melodramas, narratives of great suffering and extreme emotional experiences, the best of which explore how we might make sense of such suffering. A prominent question: the difference between tragedy and melodrama, and the bearing of that difference on the general question. Another: might such films be a form of collective self-knowledge at a time? Another: might such films be a unique way to explore the problems philosophers call “moral psychology,” and what difference should it make to philosophers if the psychological subjects in such an inquiry are women? We shall watch nine films in connection with these questions: Stella Dallas (1937); Now Voyager (1942); Letter from an Unknown Woman (1948); Caught (1949); Rebel Without a Cause (1955); All That Heaven Allows (1955); Ali: Fear Eats the Soul (1974); Written on the Wind (1956); and  Imitation of Life (1959); Readings will include Stanley Cavell's Contesting Tears, and essays by Linda Williams, Laura Mulvey, George Wilson, Christine Gledhill; Victor Perkins, Rainer Fassbinder, Thomas Elsaesser, and others. (A) (I)