Philosophy at the Movies

What does this 2024 film, portraying the family life of Auschwitz Commandant Rudolph Hoss, teach us about that family’s ability to compartmentalize the horrors from which they directly benefit, and what lessons does this hold for us? How does the film make use of the aural atmosphere laying over the mundane activities of the family to implicate their guilt? How does the film portray the bravery and heroism of the young girl who, at great risk to herself, plants apples around the work areas for the prisoners that are slave laborers? Does the concluding set of scenes, showing Hoss retching as he descends a darkened flight of stairs alone, and then taking us forward in time to the present-day Auschwitz Birkenau Memorial and Museum, portray Hoss’s recognition, at some level, of the enormity of his crimes, illustrating something reflected upon by Aleksandr Solzhenitsyn as he wrote about his own experiences in the Soviet Gulag system? “the line separating good and evil passes not through states, nor between classes, nor between political parties either -- but right through every human heart -- and through all human hearts. This line shifts. Inside us, it oscillates with the years. And even within hearts overwhelmed by evil, one small bridgehead of good is retained”

How does this 2023 film satirize the market forces in the publishing world? How does the market encourage those indulge and pander to liberal white guilt and traffic in stereotypes concerning black Americans? What, if any significant difference is there between the motivations and justifications Thelonius ‘Monk’ Ellision and fellow author, Sintara Golden, both upper middle-class, well-educated and black, cite to explain why they write stories that indulge these stereotypes? In the end, are they all that different from each other? Is there anything objectionable in their both pandering to liberal sensitivities of the literary and Hollywood markets? How does the film’s late twist or reveal, showing Monk pitching, instead of his novel, My Pafology, his own story, the story of how he came to write the novel under the pseudonym ‘Stagg R. Leigh,’ force the audience to reflect back upon the whole film? Does it raise questions as to how much trust we can put in the film’s portrayal of its main characters, his family? How does the case of Cliff, his brother, illustrate? How does this film comment upon and fit into the history of the portrayal of black Americans in film? How do Hollywood’s recent efforts at inclusion and portrayal of minority groups play out as films are distributed to world markets? What does this reveal about Hollywood’s primary motivations in these efforts?

How does this 2002 film, about an unfolding alien invasion of Earth, use the premise to explore faith, the problem of evil and the differences between fundamental world views with regard to meaningful coincidences? How does the film’s pivotal conversation between Merrill and his brother Graham, a former Reverend who had lost his faith, illustrate these two views, and what events in the film lead Graham from one to the other perspective? How does the film engage the question of whether God can fully eliminate pain and suffering? How does the film tap into and play with pop-cultural themes involving extraterrestrials, media coverage, and pay homage to War of the Worlds?

What does this 1994 epic tell us about the tumultuous period in Chinese history (the civil war of the late 1940s and the first decades of Maoist rule) that is its setting? How does the character arc of its protagonist, Fugui, convey his maturation, his growth as a husband and father, and the effect of four decades of communist rule had upon himself, family and friends? How does the film deal with the “Great Leap Forward,” and the “Cultural Revolution?” How does the fate of the local communist chief Cadre, Nui, reflect the tenuous nature of political or social status in China during the cultural revolution? How does the film contrast the family’s personal relationships with Red Guard, in the person of their loving son-in-law, Wan Erxi and his friends, and the Red Guard running the smelting operations and hospital which ultimately take the lives of Fugui and Jiahzen’s two children, Fengxia and Youqing? How does the film use Fugui’s traditional Chinese shadow-puppetry to comment upon communism's antogonism toward elements of traditional Chinese culture? Why did communist China allow production of this film, its international distribution, but refuse to allow its theatrical release in China? How does Chinese cinema reflect the cyclic and tenuous nature of the CCP's openness to criticism of communist practice?

What does this 1964 black comedy about a nuclear doomsday scenario tell us about the strategic thought surrounding potential nuclear war between the U.S. and the U.S.S.R. during the early years of the 1960s? How does the film play with the concept of a ‘doomsday machine’ as described in the strategic literature of the day? How does the device described in the film reflect an option described by Leo Szilard, a key figure in the development of atomic weapons? How did economist/strategist Thomas Schelling’s work influence Stanley Kubrick’s script? How does the film explore the kind of thinking that backstops the notion of mutually assured destruction? How does the character Dr. Strangelove reflect Kubrick’s desire to combine and satirize aspects of the real-world figures Wernher von Braun and John von Neumann.

What does this 1997 film, set in fascist Italy during WWII, tell us about the gathering threat in Northern Italy for its Jewish citizens, and how the main character, Guido and his family cope with it? Why does the film explore the Holocaust in the guise of one half of the film being a romantic comedy, the latter being a tragic portrayal of life in an extermination camp? How does Guido protect his young son, Joshua from the harsh reality of antisemitism in Fascist Italy? How does he use deception to protect his son from realizing the true nature of the labor/extermination camp? How does Dora, a gentile, exhibit great love and courage in her insistence on being allowed to board the same train taking her husband and son to the camp? What is the nature of the “game” Guido tells Joshua is actually going on in the camp? What does the alleged ‘game’ have to do with the fact they were taken to the camp on Joshua’s birthday? How does Guido take advantage of Joshua’s fascination with tanks in order to carry out his deception and protection of Joshua? What criticisms did this film garner? How does it illustrate human resilience and love? How does this film illustrate the controversy and utility in using popular culture for keeping historical awareness of events like the Holocaust alive?

How does this 2007 animated feature play with the premise of time travel and multiple histories or parallel universes? How does the film cause us to consider the plausibility of its main character, Lewis, being able to interact with his adult self after having time travelled into the future? How does the film illustrate the large ramifying effects of small events, especially in the childhood experience of “Goob,” Lewis’s roommate in an orphanage? How does the artistic portrayal of the future world, Lewis as inventor, had largely created, reflect Walt Disney’s futurism and “Tomorrowland” theme parks? How does the film provide opportunity to comment upon the mitigation of potential risks of scientific research carried out in the private realm? How does the AI robot “Doris,” reflect these concerns? What risks would suggest some technologies should not be released into the public? How does the film illustrate these concerns with regard to time-travel technology? Should such technology ever be used, or does it introduce too much potential for chaos? Is time travel only possible in a multiple-universe setting?

What does this 1984 adaptation of the 1949 George Orwell novel tell us about the totalitarian tendency in human history? How does it adumbrate upon the surveillance state as exemplified in Stalinist Russia? What role does emerging technology of the day play in Orwell’s vision? How does the film do as a portrait of the subjective experience of this state, as lived by the protagonists, Winston, Julia and others? How does the film portray the efforts of Oceania to control information and change or erase objective records, and what is the purpose of the ‘Ministry of Truth’? How does this effort reflect philosophical ‘idealists’? How do current efforts to change classic works of literature bear similarity to these practices? How does the state of Oceania contrast itself with what, from their point of view, were earlier totalitarian states, such as Communist Russia? Does it believe it’s bringing about a utopian vision? What parallels exist between the regular ‘two-minute hates’ aimed at Goldstein and anti-Antisemitism in the modern world? How does Oceania attempt to eradicate all normal human attachments and the need for privacy? Does it succeed?

How does this 2007 film, based on the 1954 Richard Matheson novel, depart from that book? How effective is the film in focusing on the isolation and loneliness of its protagonist, Neville? How does the dog, ‘Sam’ serve to illustrate that loneliness? What other devices are used to this end? How does the film engage the moral implications of Neville’s search for a cure for the virus that has turned human beings into savage vampiric beings? How does the film’s alternate ending, involving the ‘alpha-male’ leader of the ‘un-dead’ infected, and his mate, who Neville had captured, provide a twist, putting Neville in the role of ‘monster’ and the un-dead infected in role of victims? More generally, how do the novel and film reflect on the darker more savage side of human nature in the person of Neville and in the persons of the living infected, as both fight the almost perfectly savage un-dead infected? In the end, does Neville conclude that any continued efforts on his part in using infected human subjects to find a cure is in fact immoral, given that a large majority of human beings are infected, and that the project requires human trials with an attendant high probability of continued mortality? Is this why he leaves the city with Anna and Ethan, looking for a possible community of uninfected?

How does this 2000 film engage with and differ from Homer’s epic poem, the Odyssey, on which it is loosely based? How do various characters in the film, which is set in the deep South during the depression, reflect famous characters in that story? How does the film portray the role of popular music in racial integration during this period in American History? How does the film portray the relationship that existed between racial aspects of the prevailing political order and the opposed and organic growth of integration in popular culture? How does the opportunism of governor, Pappy O’Daniel, with regard to the integrated band formed by Ulysses, Tommy Johnson and the others illustrate? What does the film tell us about the power of recording technology and radio as drivers of social change in the depression era South, and what lessons can we derive concerning the modern media environment and its more positive potential?