| Reviews |
Dean Kowalski's Joss Whedon as Philosopher confirms what we have long suspected, that there is a great deal of philosophical gold to be mined from the Whedonverse. Kowalski expertly guides the reader through the many philosophical insights and provocations that can be found in Whedon's works, from Buffy, Angel and Firefly, to the Avengers films, Cabin in the Woods and Dollhouse. He shows how Whedon's creations have much to tell us about authenticity and the good life, rights and personhood, ethics and religion, free will and determinism, and more besides. In the second part, the book offers some meditations of its own on the very idea of film (and television) as philosophy - all the better to confirm that Whedon can readily be numbered among those who, in the act of filmmaking, actually do philosophy., "Dean Kowalski's Joss Whedon as Philosopher confirms what we have long suspected, that there is a great deal of philosophical gold to be mined from the Whedonverse. Kowalski expertly guides the reader through the many philosophical insights and provocations that can be found in Whedon's works, from Buffy, Angel and Firefly, to the Avengers films, Cabin in the Woods and Dollhouse. He shows how Whedon's creations have much to tell us about authenticity and the good life, rights and personhood, ethics and religion, free will and determinism, and more besides. In the second part, the book offers some meditations of its own on the very idea of film (and television) as philosophy - all the better to confirm that Whedon can readily be numbered among those who, in the act of filmmaking, actually do philosophy." --Chris Falzon, University of Newcastle |
| Synopsis |
In this book, Dean Kowalski argues that filmmakers can "do" philosophy when creating a fictional narrative film, and utilizes a careful and extensive analysis of Joss Whedon's fictive creations-Buffy the Vampire Slayer, Angel, Firefly, Dollhouse, and The Cabin in the Woods (among others)-to establish this thesis. This book appeals to many different readers. For the many admirers of Whedon's fictive creations, it offers one of the most comprehensive analyses of his corpus. It reprises many examples and dialogue passages from the far corners of the so-called "Whedonverse." You'll get a chance to re-experience your favorite dramatic moments, and think about them in novel ways. For popular culture scholars, it offers illustrations of various philosophical theories, explains how those theories pertain to relevant data points in Whedon's oeuvre, and assesses whether, or to what extent, they have real-world application. For philosophers of film, it explicates crucial issues germane to the film-as-philosophy debate, but also expands them to television-all in the attempt to demonstrate why it is that Whedon ought to be included among those rare filmmakers who engage the philosophical process via their artistry., In this book, Dean Kowalski argues that filmmakers can "do" philosophy when creating a fictional narrative film, and utilizes a careful and extensive analysis of Joss Whedon's fictive creations--Buffy the Vampire Slayer, Angel, Firefly, Dollhouse, and The Cabin in the Woods (among others)--to establish this thesis., In this book, Dean Kowalski argues that filmmakers can "do" philosophy when creating a fictional narrative film, and utilizes a careful and extensive analysis of Joss Whedon's fictive creations--Buffy the Vampire Slayer, Angel, Firefly, Dollhouse, and The Cabin in the Woods (among others)--to establish this thesis. This book appeals to many different readers. For the many admirers of Whedon's fictive creations, it offers one of the most comprehensive analyses of his corpus. It reprises many examples and dialogue passages from the far corners of the so-called "Whedonverse." You'll get a chance to re-experience your favorite dramatic moments, and think about them in novel ways. For popular culture scholars, it offers illustrations of various philosophical theories, explains how those theories pertain to relevant data points in Whedon's oeuvre, and assesses whether, or to what extent, they have real-world application. For philosophers of film, it explicates crucial issues germane to the film-as-philosophy debate, but also expands them to television--all in the attempt to demonstrate why it is that Whedon ought to be included among those rare filmmakers who engage the philosophical process via their artistry. |
| Table Of Content |
Acknowledgements Dedication Introduction Photo Credits and Captions Part I: Philosophy in the Whedonverse Chapter 1: Seeking Authenticity in the Whedonverse Chapter 2: On Being Horrible (and an Angel) Chapter 3: Ethics in an Atheistic Whedonverse Chapter 4: Religious Ambivalence in the Whedonverse Chapter 5: Freedom of the Will: A Whedonverse Paradox (or Not) Part II: Film-as-Philosophy, Whedonesquely Chapter 6: Mulhall and His Detractors Chapter 7: The Russell-Wartenberg Debate Chapter 8: Exploring The Cabin in the Woods Chapter 9: Angel, Angelus, and Personal Identity Conclusion: The Whedonverse, Television, and Philosophy Bibliography |
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This book brilliantly explores how Joss Whedon’s work tackles deep philosophical questions through storytelling. Dean Kowalski’s analysis of Buffy, Firefly, and more reveals the hidden intellectual depth behind the action and wit. A must-read for Whedon fans and philosophy lovers alike—it’s insightful, engaging, and thought-provoking!