This volume presents a series of essays in honor of noted scholar of political theory, Mary P. Nichols. The essays reflect Nichols’ pathbreaking work in ancient Greek political thought, as well as her influential treatments of works of literature and film in conversation with political theory. Part I: Conversations Concerning Love and Friendship features essays about the philosophical meaning of human connection and affection. Part II: Conversations Between Politics and Poetry looks at the political significance of art, and the ways in which political rule can be understood to be “artistic” or poetic. Part III: Conversations from Tragedy to Comedy considers whether the human need for community is something to be lamented or celebrated. Broad in scope and interdisciplinary in approach, the essays in this volume address authors such as Plato, Aristotle, Shakespeare, Machiavelli, Mary Wollstonecraft, G.W.F. Hegel, Jane Austen, Henry James, William Faulkner, Albert Camus, J.R.R. Tolkien, and Aleksander Solzhenitsyn, as well as the films of Woody Allen and Whit Stillman.

Inspired and in honor of the work of noted political theorist Mary P. Nichols, the essays in this volume explore political ideas and implications in a range of works of philosophy, literature, and film from classical antiquity to the present day, creating an interdisciplinary conversation across genres.

Presenting the first interdisciplinary consideration of his political thought, Updike and Politics: New Considerations establishes a new scholarly foundation for assessing one of the most recognized and significant American writers of the post-1945 period. This book brings together a diverse group of American and international scholars, including contributors from Japan, India, Israel, and Europe. Like Updike himself, the collection canvases a wide range of topics, including Updike’s too often overlooked poetry and his single play. Its essays deal with not only political themes such as the traditional aspects of power, rights, equality, justice, or violence but also the more divisive elements in Updike’s work like race, gender, imperialism, hegemony, and technology. Ultimately, the book reveals how Updike’s immense body of work illuminates the central political questions and problems that troubled American culture during the second half of the twentieth century as well as the opening decade of the new millennium.

Since 1995 there has been a widespread return of commitment to French cinema taking it to a level unmatched since the heady days following 1968. But this new wave of political film is very different and urgently calls out for an analysis that will account for its development, its formal characteristics and its originality. This is what this book provides. It engages with leading directors such as Cantet, Tavernier, Dumont, Kassovitz, Zonca and Guédiguian, takes in a range of less well known but important figures and strays across the Belgian border to engage with the seminal work of the Dardenne brothers. It shows how the works discussed are helping to reinvent political cinema by finding stylistic and narrative strategies adequate to the contemporary context.

"What issues, of both form and content, shape the documentary film? What role does visual evidence play in relation to a documentary's arguments about the world in which we live? Can a documentary be believed, and why or why not? How do documentaries abide by or subvert ethical expectations? Are mockumentaries a form of subversion? In what ways can the documentary be an aesthetic experience and at the same time have political or social impact? And how can such impacts be empirically measured? Pioneering film scholar Bill Nichols investigates the ways in which documentaries strive for accuracy and truthfulness, but simultaneously fabricate a form that shapes reality. Such films may rely on re-enactment to re-create the past, storytelling to provide satisfying narratives, and rhetorical figures such as metaphor and expressive forms such as irony to make a point. In many ways documentaries are a fiction unlike any other. With clarity and passion, Nichols offers close readings of several provocative documentaries including Land without Bread, Restrepo, The Thin Blue Line, The Act of Killing, and Steve Jobs: The Man in the Machine as part of an authoritative examination of the layered approaches and delicate ethical balance demanded of documentary filmmakers"--Provided by publisher.

This collection, the first of its kind, brings together specially commissioned academic essays to mark fifty years since the death of John Kennedy Toole.

The main premise of Philosophical Perspective on Cinema is simple: Can a visual medium such as cinema put in greater perspective diverse aspects of human experience? Films are usually sorted by genres, but by applying metaphysical/existential categories to cinema, the author enables readers to reflect on the nature and essence of existence by making life appear less transparent to itself. Undoubtedly, the connection between sensual reality and philosophical reflection is often glossed over when the emphasis is placed on theoretical abstractions, and not life itself. While this work is a reflection on the philosophy of existence, the author embraces a practical approach to the metaphysical/existential foundation of human existence.