© 2012 – Routledge
Released in 1999, Fight Club is David Fincher’s popular adaption of Chuck Palahniuk’s cult novel, and one of the most philosophically rich films of recent years. This is the first book to explore the varied philosophical aspects of the film. Beginning with an introduction by the editor that places the film and essays in context, each chapter explores a central theme of Fight Club from a philosophical perspective. Topics discussed include:
Including annotated further reading at the end of each chapter, Fight Club is essential reading for anyone interested in the film, as well as those studying philosophy and film studies.
'An exciting, thoughtful, and punchy collection of essays exploring the complex screening of philosophical ideas in Fincher’s Fight Club, including reflections on identity, gender, consumerism, nihilism, narration, reason versus the passions, and romantic comedy. A stimulating and enjoyable read for philosophers, theorists, students and film fans alike.' - Robert Sinnerbrink, Macquarie University, Australia
1. Introduction Thomas E. Wartenberg 2. Have I Been Understood? – Dionysus vs. Ikea-Boy Murray Skees 3. Trying to be a Man in a Leveled-Down World Charles Guignon 4. There’s Something About Marla: Fight Club and the Engendering of Self-Respect Cynthia A. Stark 5. Unraveling the Twists of Fight Club George M. Wilson and Sam Shpall 6. Cogito Ergo Film: Plato, Descartes and Fight Club Nancy Bauer 7. Fight Club as Romantic Comedy Ben Caplan. Index
'The true significance of film for philosophy, and of philosophy for film, cannot be established in abstract or general terms. It can only be measured in and through individual philosophers' attempts to account for their experience of specific films. This series promises to provide a productive context for that indispensable enterprise.' – Stephen Mulhall, Fellow and Reader in Philosophy, New College, Oxford
Film is increasingly used to introduce and discuss key topics and problems in philosophy, whilst some films raise important philosophical questions of their own. Yet until now, dependable resources for those studying and teaching philosophy and film have been limited. Philosophers on Film answers this growing need and is the first series of its kind. Each volume assembles a team of international contributors who explore a single film in depth. Beginning with an introduction by the editor, each specially-commissioned chapter discusses a key aspect of the film in question.
Additional features include a biography of the director and suggestions for further reading, making the series ideal for anyone studying philosophy, film and anyone with a general interest in the philosophical dimensions of cinema.