Immortality, the Good Life and Romantic Love in Groundhog Day and Only Lovers Left Alive

IF 0.4 3区 艺术学 0 FILM, RADIO, TELEVISION Film-Philosophy Pub Date : 2022-10-01 DOI:10.3366/film.2022.0208
Rick Zinman
{"title":"Immortality, the Good Life and Romantic Love in Groundhog Day and Only Lovers Left Alive","authors":"Rick Zinman","doi":"10.3366/film.2022.0208","DOIUrl":null,"url":null,"abstract":"Groundhog Day (Harold Ramis, 1993) and Only Lovers Left Alive (Jim Jarmusch, 2013) are fantasy films that use the device of practical immortality in order to raise important philosophical questions about what constitutes a good life and to explore the nature of romantic love. Groundhog Day provides fairly conventional answers about how to live a good life by focusing on issues of spiritual redemption, selflessness, and developing one’s human potential. In contrast, Lovers provides a dark portrayal of a civilization on the brink of extinction but offers a glimmer of hope for the future. The lifestyle and values of married vampires Adam and Eve represent an alternative vision of the core values needed to sustain a better world: greater reliance on human imagination, maintaining a sense of wonder and curiosity about the world, creating and appreciating works of art and living in harmony with the natural world. Both films also offer a perspective on the importance of romantic love in living a good life. Although these perspectives often diverge from one another, they do overlap in some interesting ways. The style of film criticism used in this paper is inspired by the film philosophy of Stanley Cavell.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":" ","pages":""},"PeriodicalIF":0.4000,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Film-Philosophy","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3366/film.2022.0208","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0

Abstract

Groundhog Day (Harold Ramis, 1993) and Only Lovers Left Alive (Jim Jarmusch, 2013) are fantasy films that use the device of practical immortality in order to raise important philosophical questions about what constitutes a good life and to explore the nature of romantic love. Groundhog Day provides fairly conventional answers about how to live a good life by focusing on issues of spiritual redemption, selflessness, and developing one’s human potential. In contrast, Lovers provides a dark portrayal of a civilization on the brink of extinction but offers a glimmer of hope for the future. The lifestyle and values of married vampires Adam and Eve represent an alternative vision of the core values needed to sustain a better world: greater reliance on human imagination, maintaining a sense of wonder and curiosity about the world, creating and appreciating works of art and living in harmony with the natural world. Both films also offer a perspective on the importance of romantic love in living a good life. Although these perspectives often diverge from one another, they do overlap in some interesting ways. The style of film criticism used in this paper is inspired by the film philosophy of Stanley Cavell.
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
《土拨鼠之日》中的不朽、美好生活和浪漫爱情
《土拨鼠日》(Harold Ramis,1993)和《只有活着的情人》(Jim Jarmusch,2013)是一部奇幻电影,它们使用了实用的永生手段,以提出关于什么构成美好生活的重要哲学问题,并探索浪漫爱情的本质。土拨鼠日通过关注精神救赎、无私和开发人类潜力等问题,为如何过上美好生活提供了相当传统的答案。相比之下,《情人》描绘了一个濒临灭绝的文明的黑暗写照,但也为未来带来了一线希望。已婚吸血鬼亚当和夏娃的生活方式和价值观代表了维持一个更美好世界所需的核心价值观的另一种愿景:更加依赖人类的想象力,对世界保持好奇和好奇,创作和欣赏艺术作品,与自然世界和谐相处。这两部电影也都从一个角度阐述了浪漫爱情在美好生活中的重要性。尽管这些观点经常相互偏离,但它们确实以一些有趣的方式重叠。本文采用的电影批评风格受到了斯坦利·卡维尔电影哲学的启发。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 去求助
来源期刊
Film-Philosophy
Film-Philosophy Multiple-
CiteScore
0.40
自引率
0.00%
发文量
30
审稿时长
52 weeks
期刊最新文献
Shane Denson (2023). Post-Cinematic Bodies Matthew Rukgaber (2022). Nietzsche in Hollywood: Images of the Übermensch in Early American Cinema Steven DeLay (ed.) (2023). Life Above the Clouds: Philosophy in the Films of Terrence Malick Francesco Sticchi (2021). Mapping Precarity in Contemporary Cinema and Television: Chronotopes of Anxiety, Depression, Expulsion/Extinction The Pleasure of Self-erasure: Malabou, (Sexual) Anarchy and Agnès Varda’s Sans toit ni loi
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1