James Phillips – författare

James Phillips's Sternberg and Dietrich: The Phenomenology of Spectacle reappraises the cinematic collaboration between the Austrian-American filmmaker Josef von Sternberg (1894-1969) and the German-American actor Marlene Dietrich (1901-92). Considered by his contemporaries one of the most significant directors of interwar Hollywood, Sternberg made seven films with Dietrich that helped establish her as a style icon and star and entrenched his own reputation for extravagance and aesthetic spectacle. These films enriched the technical repertoire of the industry, challenged the sexual mores of the times and notoriously tried the patience of management at Paramount Studios. Sternberg and Dietrich: The Phenomenology of Spectacle demonstrates how under Sternberg's direction Paramount's sound stages became laboratories for novel thought experiments. Analysing in depth the last four films on which Sternberg and Dietrich worked together, Phillips reconstructs the "cinematic philosophy" that Sternberg claimed for himself in his autobiography and for whose fullest expression Dietrich was indispensable. This book makes a case for the originality and perceptiveness with which these films treat such issues as the nature of trust, the status of appearance, the standing of women, the ethics and politics of the image, and the relationship between cinema and the world. Sternberg and Dietrich: The Phenomenology of Spectacle reveals that more is at stake in these films than the showcasing of a new star and the confectionery of glamour: Dietrich emerges here as a woman who is at ease in the world without being at home in it, an image of autonomy whose critical potential has yet to be realized, let alone exhausted.

James Phillips''s Sternberg and Dietrich: The Phenomenology of Spectacle reappraises the cinematic collaboration between the Austrian-American filmmaker Josef von Sternberg (1894-1969) and the German-American actor Marlene Dietrich (1901-92). Considered by his contemporaries one of the most significant directors of interwar Hollywood, Sternberg made seven films with Dietrich that helped establish her as a style icon and star and entrenched his own reputation for extravagance and aesthetic spectacle. These films enriched the technical repertoire of the industry, challenged the sexual mores of the times and notoriously tried the patience of management at Paramount Studios. Sternberg and Dietrich: The Phenomenology of Spectacle demonstrates how under Sternberg''s direction Paramount''s sound stages became laboratories for novel thought experiments. Analysing in depth the last four films on which Sternberg and Dietrich worked together, Phillips reconstructs the "cinematic philosophy" that Sternberg claimed for himself in his autobiography and for whose fullest expression Dietrich was indispensable. This book makes a case for the originality and perceptiveness with which these films treat such issues as the nature of trust, the status of appearance, the standing of women, the ethics and politics of the image, and the relationship between cinema and the world. Sternberg and Dietrich: The Phenomenology of Spectacle reveals that more is at stake in these films than the showcasing of a new star and the confectionery of glamour: Dietrich emerges here as a woman who is at ease in the world without being at home in it, an image of autonomy whose critical potential has yet to be realized, let alone exhausted.

James Phillips''s Sternberg and Dietrich: The Phenomenology of Spectacle reappraises the cinematic collaboration between the Austrian-American filmmaker Josef von Sternberg (1894-1969) and the German-American actor Marlene Dietrich (1901-92). Considered by his contemporaries one of the most significant directors of interwar Hollywood, Sternberg made seven films with Dietrich that helped establish her as a style icon and star and entrenched his own reputation for extravagance and aesthetic spectacle. These films enriched the technical repertoire of the industry, challenged the sexual mores of the times and notoriously tried the patience of management at Paramount Studios. Sternberg and Dietrich: The Phenomenology of Spectacle demonstrates how under Sternberg''s direction Paramount''s sound stages became laboratories for novel thought experiments. Analysing in depth the last four films on which Sternberg and Dietrich worked together, Phillips reconstructs the "cinematic philosophy" that Sternberg claimed for himself in his autobiography and for whose fullest expression Dietrich was indispensable. This book makes a case for the originality and perceptiveness with which these films treat such issues as the nature of trust, the status of appearance, the standing of women, the ethics and politics of the image, and the relationship between cinema and the world. Sternberg and Dietrich: The Phenomenology of Spectacle reveals that more is at stake in these films than the showcasing of a new star and the confectionery of glamour: Dietrich emerges here as a woman who is at ease in the world without being at home in it, an image of autonomy whose critical potential has yet to be realized, let alone exhausted.

Our lives are dominated by technology. We live with and through the achievements of technology. What is true of the rest of life is of course true of medicine. Many of us owe our existence and our continued vigour to some achievement of medical technology. And what is true in a major way of general medicine is to a significant degree true of psychiatry. Prozac has long since arrived, and in its wake an ever-growing armamentarium of new psychotropics; beyond that, neuroscience promises ever more technological advances for the field.However, the effect of technology on the field of psychiatry remains highly ambiguous. On the one hand there are the achievements, both in the science and practice of psychiatry; on the other hand technology's influence on the field threatens its identity as a humanistic practice. In this ambiguity psychiatry is not unique - major thinkers have for a long time been highly ambivalent and concerned about the technological order that now defines modern society. For the future, the danger is that the psychiatrically real becomes that which can be seen, the symptom, and especially that which can be measured. Disorders and treatments might become reduced to what can be defined by diagnostic criteria and what can be mapped out on a scale. This book exams how technology has come to influence and drive psychiatry forward, and considers at just what cost these developments have been made. It includes a range of stimulating and thought-provoking chapters from a range of psychiatrists and philosophers.

A remarkable new play about Cold-War betrayal and the quest for justice 1953. In McCarthy's America, Jakob and Esther Rubenstein are betrayed and punished for an act of industrial espionage. Could this be the greatest miscarriage of justice of the twentieth century?1975. New York. Matthew Maddison meets Anna Levi in front of an art gallery photograph of Jakob and Esther sharing one final kiss before they part. Young, radical and falling in love, together they seek justice for the past.Inspired by a true story, The Rubenstein Kiss explores the mysterious corridors of history to reveal the anguish of a family and a quest for atonement.Publication coincides with the play's premiere at London's Hampstead Theatre on 17 November 2005.'a commendably assured first play ...vividly captures the interlocking nature of sexual and ideological passion' Guardian'This is a bracingly ambitious piece, encompassing the tension between personal and political morality, between idealism and pragmatism, and the power of the past to shape individuals. Astutely and compassionately, Phillips explores each bend in the road that led to the Rubensteins' deaths ...A stimulating debut work of real scope.'The Times

In 1933 the philosopher Martin Heidegger declared his allegiance to Hitler. Ever since, scholars have asked to what extent his work is implicated in Nazism. To address this question properly involves neither conflating Nazism and the continuing philosophical project that is Heidegger's legacy, nor absolving Heidegger and, in the process, turning a deaf ear to what he himself called the philosophical motivations for his political engagement. It is important to establish the terms on which Heidegger aligned himself with National Socialism. On the basis of an untimely but by no means unprecedented understanding of the mission of the German people, the philosopher first joined but then also criticized the movement. An exposition of Heidegger's conception of Volk hence can and must treat its merits and deficiencies as a response to the enduring impasse in contemporary political philosophy of the dilemma between liberalism and authoritarianism.

In 1933 the philosopher Martin Heidegger declared his allegiance to Hitler. Ever since, scholars have asked to what extent his work is implicated in Nazism. To address this question properly involves neither conflating Nazism and the continuing philosophical project that is Heidegger's legacy, nor absolving Heidegger and, in the process, turning a deaf ear to what he himself called the philosophical motivations for his political engagement. It is important to establish the terms on which Heidegger aligned himself with National Socialism. On the basis of an untimely but by no means unprecedented understanding of the mission of the German people, the philosopher first joined but then also criticized the movement. An exposition of Heidegger's conception of Volk hence can and must treat its merits and deficiencies as a response to the enduring impasse in contemporary political philosophy of the dilemma between liberalism and authoritarianism.

The Equivocation of Reason: Kleist Reading Kant asks how the literary works of the German writer Heinrich von Kleist might be considered a critique and elaboration of Kantian philosophy. In 1801, the twenty-three-year-old Kleist, attributing his loss of confidence in our knowledge of the world to his reading of Kant, turned from science to literature. Kleist ignored Kant's apology of the sciences to focus on the philosopher's doctrine of the unknowability of things in themselves. From that point on, Kleist's writings relate confrontations with points of hermeneutic resistance. Truth is no longer that which the sciences establish; only the disappointment of every interpretation attests to the continued sway of truth. Though he adheres to Kant's definition of Reason as the faculty that addresses things in themselves, Kleist sees no need for its critique and discipline in the name of the reasonableness (prudence and common sense) of the experience of the natural sciences. Setting transcendental Reason at odds with empirical reasonableness, Kleist releases Kant's ethics and doctrine of the sublime from the moderating pull of their examples.

Each essay in Cinematic Thinking is organized around an interpretation of a postwar filmmaker and the philosophical issues his or her work raises. The filmmakers covered are Alfred Hitchcock, Luchino Visconti, Michelangelo Antonioni, Robert Altman, Carlos Saura, Glauber Rocha, Margarethe von Trotta, Rainer Werner Fassbinder, Wim Wenders, and Claire Denis. As the authors collected here are philosophers, rather than film critics, the volume approaches its subjects with a different set of interests and commitments from the bulk of works in film theory. Memory, judgment, subjectivity, terrorism, feminism, desire, race relations, experience, the work of mourning, and utopia are among the questions discussed in relation to some of the most significant films of the last fifty years. This collection analyzes the theoretical and political contexts in which the films were made and examines their reception down to the present day.

Each essay in Cinematic Thinking is organized around an interpretation of a postwar filmmaker and the philosophical issues his or her work raises. The filmmakers covered are Alfred Hitchcock, Luchino Visconti, Michelangelo Antonioni, Robert Altman, Carlos Saura, Glauber Rocha, Margarethe von Trotta, Rainer Werner Fassbinder, Wim Wenders, and Claire Denis. As the authors collected here are philosophers, rather than film critics, the volume approaches its subjects with a different set of interests and commitments from the bulk of works in film theory. Memory, judgment, subjectivity, terrorism, feminism, desire, race relations, experience, the work of mourning, and utopia are among the questions discussed in relation to some of the most significant films of the last fifty years. This collection analyzes the theoretical and political contexts in which the films were made and examines their reception down to the present day.

She came to us one dawn. The girl. Far outOne dawn alone beneath the wine dark sea.One day it starts to rain and no-one knows why. And it doesn’t stop. Far out on the North Sea a fisherman raises a girl in his net, miraculously alive from the deep sea. Is she one of the migrants now washing up on English shores? Or someone sent for some higher purpose?Commissioned by Hull UK City of Culture 2017 this epic and extraordinary collaboration between multi-award-winning artists James Phillips and Slung Low is the culmination of a year-long project. Four parts told across three different mediums, this complete text includes four stunningly written dramas that ask fundamental questions about our future, our communities and our collective responsibilities.“A State of the Nation Parable” BBC Arts“Visually stunning, and deeply moving” The Stage

She came to us one dawn. The girl. Far outOne dawn alone beneath the wine dark sea. One day it starts to rain and no-one knows why. And it doesn''t stop. Far out on the North Sea a fisherman raises a girl in his net, miraculously alive from the deep sea. Is she one of the migrants now washing up on English shores? Or someone sent for some higher purpose?Commissioned by Hull UK City of Culture 2017 this epic and extraordinary collaboration between multi-award-winning artists James Phillips and Slung Low is the culmination of a year-long project. Four parts told across three different mediums, this complete text includes four stunningly written dramas that ask fundamental questions about our future, our communities and our collective responsibilities. “A State of the Nation Parable” BBC Arts “Visually stunning, and deeply moving” The Stage

She came to us one dawn. The girl. Far outOne dawn alone beneath the wine dark sea. One day it starts to rain and no-one knows why. And it doesn''t stop. Far out on the North Sea a fisherman raises a girl in his net, miraculously alive from the deep sea. Is she one of the migrants now washing up on English shores? Or someone sent for some higher purpose?Commissioned by Hull UK City of Culture 2017 this epic and extraordinary collaboration between multi-award-winning artists James Phillips and Slung Low is the culmination of a year-long project. Four parts told across three different mediums, this complete text includes four stunningly written dramas that ask fundamental questions about our future, our communities and our collective responsibilities. “A State of the Nation Parable” BBC Arts “Visually stunning, and deeply moving” The Stage

A remarkable new play about Cold-War betrayal and the quest for justice

1953. In McCarthy''s America, Jakob and Esther Rubenstein are betrayed and punished for an act of industrial espionage. Could this be the greatest miscarriage of justice of the twentieth century?

1975. New York. Matthew Maddison meets Anna Levi in front of an art gallery photograph of Jakob and Esther sharing one final kiss before they part. Young, radical and falling in love, together they seek justice for the past.

Inspired by a true story, The Rubenstein Kiss explores the mysterious corridors of history to reveal the anguish of a family and a quest for atonement.

Publication coincides with the play''s premiere at London''s Hampstead Theatre on 17 November 2005.

''a commendably assured first play ... vividly captures the interlocking nature of sexual and ideological passion'' Guardian

''This is a bracingly ambitious piece, encompassing the tension between personal and political morality, between idealism and pragmatism, and the power of the past to shape individuals. Astutely and compassionately, Phillips explores each bend in the road that led to the Rubensteins'' deaths ... A stimulating debut work of real scope.'' The Times

A remarkable new play about Cold-War betrayal and the quest for justice

1953. In McCarthy''s America, Jakob and Esther Rubenstein are betrayed and punished for an act of industrial espionage. Could this be the greatest miscarriage of justice of the twentieth century?

1975. New York. Matthew Maddison meets Anna Levi in front of an art gallery photograph of Jakob and Esther sharing one final kiss before they part. Young, radical and falling in love, together they seek justice for the past.

Inspired by a true story, The Rubenstein Kiss explores the mysterious corridors of history to reveal the anguish of a family and a quest for atonement.

Publication coincides with the play''s premiere at London''s Hampstead Theatre on 17 November 2005.

''a commendably assured first play ... vividly captures the interlocking nature of sexual and ideological passion'' Guardian

''This is a bracingly ambitious piece, encompassing the tension between personal and political morality, between idealism and pragmatism, and the power of the past to shape individuals. Astutely and compassionately, Phillips explores each bend in the road that led to the Rubensteins'' deaths ... A stimulating debut work of real scope.'' The Times

In 2013, the American Psychiatric Association published the 5th edition of its Diagnostic and Statistical Manual of Mental Disorders (DSM-5). Often referred to as the “bible” of psychiatry, the manual only classifies mental disorders and does not explain them or guide their treatment. While science should be the basis of any diagnostic system, to date, there is no knowledge on whether most conditions listed in the manual are true diseases. Moreover, in DSM-5 the overall definition of mental disorder is weak, failing to distinguish psychopathology from normality. In spite of all the progress that has been made in neuroscience over the last few decades, the psychiatric community is no closer to understanding the etiology and pathogenesis of mental disorders than it was fifty years ago. In Making the DSM-5, prominent experts delve into the debate about psychiatric nosology and examine the conceptual and pragmatic issues underlying the new manual. While retracing the historic controversy over DSM, considering the political context and economic impact of the manual, and focusing on what was revised or left unchanged in the new edition, this timely volume addresses the main concerns of the future of psychiatry and questions whether the DSM legacy can truly improve the specialty and advance its goals.