The fourth chapter of Mario Perniola’s book, Art and Its Shadow, is entitled ‘Towards a Philosophical Cinema’. In it he asks after this possibility, of whether cinema can ‘espouse philosophical experience’ or, more strongly again, whether cinema might even generate a ‘relatively autonomous philosophical work’.3 Showing clear signs of film-envy, Perniola outlines the powerful links between film and philosophy with respect to ‘the relation between reality and its reproduction’ while at the same time noting that it is only documentary cinema (as seen in his chosen examples of Wim Wenders’s Lisbon Story (1994) and Derek Jarman’s Blue (1993)) that can actualize the philosophical potential of film. The philosopher is clear and has his reasons (which are ‘hardly challengeable’ he says) on where philosophy is to be found in film.
Unable to display preview. Download preview PDF.