- Title Pages
- Acknowledgments
- Contributors
- Introduction
- Part One Philosophy of Technology Today
- One Borgmann's Philosophy of Technology
- Two Philosophy of Technology: Retrospective and Prospective Views
- Part Two Evaluating Focal Things
- Three Focal Things and Focal Practices
- Four Technology and Nostalgia
- Five Focaltechnics, Pragmatechnics, and the Reform of Technology
- Six Borgmann's <i>Unzeitgemässe Betrachtungen:</i> On the Prepolitical Conditions of a Politics of Place
- Seven On Character and Technology
- Part Three Theory in the Service of Practice
- Eight The Moving Image: Between Devices and Things
- Nine Farming as Focal Practice
- Ten Design and the Reform of Technology: Venturing Out into the Open
- Eleven Nature by Design
- Part Four Extensions and Controversies
- Twelve Technological Ethics in a Different Voice
- Thirteen Crossing the Postmodern Divide with Borgmann, or Adventures in Cyberspace
- Fourteen Technology and Temporal Ambiguity
- Fifteen Trapped in Consumption: Modern Social Structure and the Entrenchment of the Device
- Sixteen From Essentialism to Constructivism: Philosophy of Technology at the Crossroads
- Seventeen Philosophy in the Service of Things
- Eighteen Reply to My Critics
- Afterword
- Index
The Moving Image: Between Devices and Things
The Moving Image: Between Devices and Things
- Chapter:
- (p.153) Eight The Moving Image: Between Devices and Things
- Source:
- Technology and the Good Life?
- Author(s):
Phillip R. Fndozzi
- Publisher:
- University of Chicago Press
This chapter points out how art, in particular film, can challenge technology in Borgmann's sense. Films, such as The Conversation, can help us to criticize technology by demonstrating vividly its logic and irony. Other films, such as Babette's Feast and Local Hero can disclose in moving detail Borgmann's focal things and practices. Films such as these may bring us out of the cave of consumption into the light of day. However, the chapter first shows how film, television, and advertisement fuel the device paradigm and keep us chained in the cave, as it were. It distinguishes these kinds of films from the way cinema as mass media can be reduced to a mere device, a source of entertainment and little else. In relation to this, the chapter discusses the development of montage in advertising, television, propaganda, and film.
Keywords: film, art, technology, focal things, device paradigm, montage, advertising, television
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- Title Pages
- Acknowledgments
- Contributors
- Introduction
- Part One Philosophy of Technology Today
- One Borgmann's Philosophy of Technology
- Two Philosophy of Technology: Retrospective and Prospective Views
- Part Two Evaluating Focal Things
- Three Focal Things and Focal Practices
- Four Technology and Nostalgia
- Five Focaltechnics, Pragmatechnics, and the Reform of Technology
- Six Borgmann's <i>Unzeitgemässe Betrachtungen:</i> On the Prepolitical Conditions of a Politics of Place
- Seven On Character and Technology
- Part Three Theory in the Service of Practice
- Eight The Moving Image: Between Devices and Things
- Nine Farming as Focal Practice
- Ten Design and the Reform of Technology: Venturing Out into the Open
- Eleven Nature by Design
- Part Four Extensions and Controversies
- Twelve Technological Ethics in a Different Voice
- Thirteen Crossing the Postmodern Divide with Borgmann, or Adventures in Cyberspace
- Fourteen Technology and Temporal Ambiguity
- Fifteen Trapped in Consumption: Modern Social Structure and the Entrenchment of the Device
- Sixteen From Essentialism to Constructivism: Philosophy of Technology at the Crossroads
- Seventeen Philosophy in the Service of Things
- Eighteen Reply to My Critics
- Afterword
- Index
