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This essay introduces the idea of a rationalizing recording device, a mechanism by which the thoughts and actions of one or more persons are both preserved and made more accessible to reason. Plato’s Myth of Er is depicted as being such a device, since its story is cinematic in the contemporary sense. Just as films can affect viewers by making one aware of thoughts that cannot be carried in the medium of the moving image itself, so too does Plato express his thoughts about the telos of the cosmos and the moral judgment one must make when confronted with choosing how to live through the external medium of a moving image.

In: Plato and the Moving Image
In: Plato and the Moving Image
In: Plato and the Moving Image
In: Plato and the Moving Image
This book shows how and why debates in the philosophy of film can be advanced through the study of the role of images in Plato’s dialogues, and, conversely, why Plato studies stands to benefit from a consideration of recent debates in the philosophy of film. Contributions range from a reading of Phaedo as a ghost story to thinking about climate change documentaries through Plato’s account of pleonexia. They suggest how philosophical aesthetics can be reoriented by attending anew to Plato’s deployment of images, particularly images that move. They also show how Plato’s deployment of images is integral to his practice as a literary artist. Contributors are Shai Biderman, David Calhoun, Michael Forest, Jorge Tomas Garcia, Abraham Jacob Greenstine, Paul A. Kottman, Danielle A. Layne, David McNeill, Erik W. Schmidt, Timothy Secret, Adrian Switzer, and Michael Weinman.
In: Parasite: A Philosophical Exploration