Download Feminist Ethics in Film: Reconfiguring Care through Cinema by Joseph Kupfer PDF

By Joseph Kupfer

Popular motion pictures can do greater than in basic terms entertain us; they could give a contribution to our realizing of human nature and the moral idea that informs it. Feminist Ethics in movie explores a diversified workforce of cinematic narratives from the viewpoint of care-based ethics. The interpersonal relationships they painting divulge very important dimensions of care which were ignored in much less contextualized discussions. specifically, the publication examines the relationships among care and group, autonomy, relations, and self transformation. examining motion pictures from the viewpoint of the feminist ethics of care either expands our wisdom of this burgeoning quarter of philosophy and provides intensity to our appreciation of the films.

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The pain of losing Sophie, coupled with the argument between his parents, has awakened him to Bernard’s unrelenting self-absorption. The scene plays out as a crystallization of Bernard’s repeated failures to extend himself beyond the boundaries of his self in caring behavior. He tells Walt that the doctors think that he is just exhausted and that he has not suffered a heart attack after all. When he tells Walt to stay the day at the hospital, it is because he needs the company, not because he would like Walt’s companionship in particular nor because he had truly missed his son.

Because the ending has been light-heartedly foreshadowed, it has greater dramatic impact. Tony also tells Annette that he often comes to the park to daydream as he looks out at the bridge. The Verrazano Bridge, then, is part of a dreamscape, a place for Tony to fantasize and must be replaced in his life by the Brooklyn Bridge—the way into Manhattan and real possibilities. For all her pretentiousness, Stephanie is on to something when she speaks glowingly of Manhattan. Life and work there are more interesting and offer more opportunity to young people than the blue-collar neighborhoods of Tony’s Brooklyn.

Tony and Stephanie separate, then come together in smooth turns and fluid entwinement. Tony is dressed in a white suit, Stephanie in a light, pink-white dress. Their clothing, the gauzily soft lighting, and their romantic dance number conspire to create an enchanted, heavenly image. As they turn, with Stephanie embraced in Tony’s arms, they kiss languorously and stare into each other’s eyes. They end their dance smiling, strutting single file off the dance floor, with Stephanie’s arms resting on Tony’s shoulders.

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