How do movies evoke and express ethical ideas? What role does our emotional involvement play in this process? What makes the aesthetic power of cinema ethically significant? Cinematic Ethics: Exploring Ethical Experience through Film addresses these questions by examining the idea of cinema as a medium of ethical experience with the power to provoke emotional understanding and philosophical thinking. In a clear and engaging style, Robert Sinnerbrink examines the key philosophical approaches to ethics in contemporary film theory and philosophy using detailed case studies of cinematic ethics across different genres, styles, and filmic traditions. Written in a lucid and lively style that will engage both specialist and non-specialist readers, this book is ideal for use in the academic study of philosophy and film. Key features include annotated suggestions for further reading at the end of each chapter and a filmography of movies useful for teaching and researching cinematic ethics.

Ethics of Cinematic Experience: Screens of Alterity deals with the relationship between cinema and ethics from a philosophical perspective, finding an intrinsic connection between film spectatorship and the possibility of being open to different modes of alterity. The book's main thesis is that openness to otherness is already found in the basic structures of cinematic experience. Through a close examination of the ethical relevance of the philosophy of Maurice Merleau-Ponty, Stanley Cavell, Emmanuel Levinas and Gilles Deleuze to cinema studies, Ethics of Cinematic Experience: Screens of Alterity pursues the question of how film can open the viewer to what is not her, and so bring her to encounter otherness in a way that is unique to cinematic experience. The book sees ethics as not just the subject, content or story of a film but part of its aesthetic structure. Accompanied by readings of films mainly from mainstream cinema, each chapter focuses on a different aspect of the encounter with alterity through cinema. The book gives particular attention to how theoretical discussion of the cinematic close-up can lead to ethical insights into the status of both the human and the non-human in film, and thus lead to an understanding of the relationships the viewer makes with them. The book is a helpful resource for students and scholars interested in the relationship between philosophy, film and ethics, and is appropriate for students of philosophy and media and cultural studies.

Since the early 1990s, phenomenology and cognitivism have become two of the most influential approaches to film theory. Yet far from being at odds with each other, both approaches offer important insights on our subjective experience of cinema. Emotions, Ethics, and Cinematic Experience explores how these two approaches might work together to create a philosophy of film that is both descriptively rich and theoretically productive by addressing the key relationship between cinematic experience, emotions, and ethics.

The editors of Ethics at the Cinema invited a diverse group of moral philosophers and philosophers of film to engage with ethical issues raised within, or within the process of viewing, a single film of each contributor's choice. The result is a unique collection of considerable breadth. Discussions focus on both classic and modern films, and topics range from problems of traditional concern to philosophers (e.g. virtue, justice, and ideals) to problems of traditional concern to filmmakers (e.g. sexuality, social belonging, and cultural identity).

Just Images: Ethics and the Cinematic charts current developments within the field of ethics and the role it plays in the study of moving images. It is the first collection of essays of its kind that brings together articles by film and media scholars from three continents, and provides multiple points of engagement of film with present and past histories, politics, myth making, and with core aspects of human subjectivity. The essays cover a wide range of topics, such as the European Union; Europe during World War II and after; film genres; the Israeli–Palestinian conflict; early American history, and recent catastrophic events. The collection includes an introductory chapter by Thomas Elsaesser as well as chapters by Kristian Feigelson, Régine-Mihal Friedman, Nurith Gertz and Gal Hermoni, Anton Kaes, Gertrud Koch, Odeya Kohen-Raz, Lihi Nagler, Judd Ne’eman, Bill Nichols, and Janet Walker. The contributors offer different approaches to the issue of film and ethics and ask whether there are specific characteristics of the moving image, or of film scholarship, that relate to ethical issues; and how discussing the engagement of both narrative and documentary film with representations of the Other, trauma, terrorism, the Holocaust, and the Palestinian–Israeli conflict may contribute to the re-shaping of past and current thoughts on these subjects.

Looks at the ethical aspects of filmmaking and television broadcasting.

World Cinema and the Ethics of Realism is a highly original study. Traditional views of cinematic realism usually draw on the so-called classical cinema and its allegiance to narrative mimesis, but Nagib challenges this, drawing instead on the filmmaker's commitment to truth and to the film medium's material bond with the real. Starting from the premise that world cinema's creative peaks are governed by an ethics of realism, Nagib conducts comparative case studies picked from world new waves, such as the Japanese New Wave, the French nouvelle vague, the Cinema Novo, the New German Cinema, the Russo-Cuban Revolutionary Cinema, the Portuguese self-performing auteur and the Inuit Indigenous Cinema. Drawing upon Badiou and Rancière, World Cinema and the Ethics of Realism revisits and reformulates several fundamental concepts in film studies, such as illusionism, identification, apparatus, alienation effects, presentation and representation. Its groundbreaking scholarship takes film theory in a bold new direction.