In this perspective, films participate in constructing the nomothetic universe of the viewer, enabling the viewer to reflect upon the nomos a film evokes. These characters are important precisely because the ethical dilemmas they face and the actions they take resemble those of viewers who watch a film. For films to have emotional and intellectual meaning, viewers must understand film characters as persons who confront the audience with ethical dilemmas and actions. This symmetry is intrinsic to the relation between film viewers and the characters in the films they view. One issue inherent in film as a locus of ethical obligation is Paul Ricoeur’s concept that relations among human beings are symmetrical. This interdependence creates a locus of ethical obligation requiring ethical consideration. It argues that film is a crucial laboratory for ethical discussion in which the lifeworld, and the representation of lifeworld are interdependent. This thesis examines film as an ethically significant art form. In doing so, the thesis stakes a claim for ethical textual analysis as an alternative to formalism and other established approaches to analyzing film. This examination provides the grounded analysis of a specific moral universe, relating it to earlier analyses of the Western genre. It does so by examining Unforgiven, a Western film by Clint Eastwood. Its goal is to illuminate the role of fiction in creating and testing moral worlds. This thesis proposes an existential analysis of the ethical dimension of film.
0 Comments
Leave a Reply. |