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From Machiavellian city officials to big time mobsters (such as Arnold Rothstein, Lucky Luciano, and Al Capone) to corrupt beat cops to overzealous G-men to suffragettes to abolitionists to innocent citizens caught in the crossfire, Boardwalk Empire is replete with philosophically compelling characters who find themselves in philosophically interesting situations. As Boardwalk Empire is based on historical events, political figures and mobsters, the philosophical issues raised bear on “real life” in the way the few fictional television shows and movies do. We see parallels with the events in Boardwalk Empire and contemporary political events, and between the characters in Boardwalk Empire (good, bad, and ambiguous) and contemporary figures. It is one of the most popular HBO television shows ever and its popularity is on the rise. In this volume, twenty philosophers address issues in political philosophy, ethics, aesthetics, feminism, and metaphysics. Gregory Littman analyzes Nucky Thomson as a Machiavellian Prince. In contrast, Richard Greene casts Thomson in the role of a Nietzschean superman. Michael Da Silva looks at the complex relationship between Nucky and Jimmy (Nucky’s young protégé). Jimmy feels resentment towards Nucky for the role he played in bringing together Jimmy’s father and his very young mother. Is this resentment justified given that Jimmy would never have come into existence had his parents not met? Is there a moral difference between the harm that Nucky allowed to happen and the direct harm caused by Jimmy’s father? Don Fallis considers the ethics of lying in the seedy world of bootlegging. Agent Van Allen’s unique religious attitudes bring a warped sense of morality to the Boardwalk universe. Roberto Sirvent brings to light the moral character of Van Alden’s God. Thomson advises to “never let the truth get in the way of a good story.” Rod Carveth explores the role that storytelling pays in the series and Cam Cobb illustrates the role of deception. Pat Brace and Maria Kingsbury address “Outsiders, Alcohol and All That Jazz”—the aesthetics of Boardwalk Empire and the prohibition era. Margaret Schroeder is used as a vehicle for the female voice of the era. Rachel Robison-Greene discusses the role that gender plays in the direction of the series. Ron Hirschbein lends a Freudian Analysis. This book is directed at thoughtful fans of Boardwalk Empire. It’s the only book to address the popular show from a thoughtful yet instantly readable perspective.
Mr. Robot has been hailed, not only as one of the most haunting and unnerving dramas ever to appear on television, but also as the first accurate popular presentation of how computer hacking and cyberterrorism actually work. Mr. Robot and Philosophy is aimed at thoughtful fans of this addictive show who will welcome the opportunity to explore Elliot Alderson's world from a philosophical perspective. The developing story of Mr. Robot constantly raises ethical and metaphysical issues. What happens to our personal identity when it’s extended into cyberspace and an array of electronic devices? Are we in control of our online lives or are we being controlled? What does our right to privacy mean in a world where millions of people can observe what we’re doing and saying? Is a virtual currency true money and could it replace traditional money? Can there be healthy forms of drug addiction? Can some types of so-called mental illness be useful and beneficial? Does it make any sense to unleash destruction upon the existing corporate economic structures, and can we expect something better to emerge from the ruins of a digital meltdown?
With many different philosophers contributing, this book discusses the concepts of ethics, truth, justice, and philosophy as demonstrated in the popular TV show, Psych.--Publisher's description.
By many accounts, HBO's The Wire was and remains the greatest and most important television drama of all time. Conceived by writers David Simon and ex-Baltimore homicide detective Ed Burns, this five-season, sixty-episode tour de force has raised the bar for compelling, intelligent television production. With each season addressing a different arena of life in the city of Baltimore, and each season's narratives tapping into those from previous seasons, The Wire was able to reveal the overlapping, criss-crossing, and colliding realities that shape--if not control--the people, institutions, and culture of the modern American city. The Wire and Philosophy celebrates this show's realism as well as its intellectual and philosophical clarity. Selected philosophers who are fans of The Wire tap into these conflicts and interconnections to expose the underlying philosophical issues and assumptions and pursue questions, such as, can cops really tell whether they are smarter than their perps? Or do they fall victim to intellectual vanity? Do individuals really have free will to resist the temptations--of gangs, of drugs, or corruption--that surround them? Is David Simon a modern-day Marx who sees capitalism leading ultimately to its own collapse, or is Baltimore's story uniquely its own?
Adventure Time and Philosophy is a monster-beating, wild ride of philosophical mayhem. One of the deepest and most thoughtful television shows ever to assault human brain waves, Adventure Time shows us what the world could be like, challenging everything we know about life, meaning, heroism, and even burritos, and it’s time to give the show some serious thought. This book screws open our cranial lids, mucks about in the mess that is our heads, and attempts to come to some answers about the nature of reality. Adventure Time and Philosophy is a chance to put down your broadsword, put your exhausted monster-slaying feet up, and try to figure out why you spend your time rescuing people in distress and fighting for justice. Who better than Finn and Jake to have as companions when taking on Plato, Nietzsche, and Baudrillard or encountering the Slime Princess, the Ice King, and Marceline the Vampire Queen? Filled with chapters written by a colorful cast of characters, Adventure Time and Philosophy enlightens us about the profound and life-affirming spiritual subtext and dark comedic elements of an awesomely fantastic show.
In Westworld and Philosophy, philosophers of diverse orientations and backgrounds offer their penetrating insights into the questions raised by the popular TV show, Westworld. ● Is it wrong for Dr. Robert Ford (played by Anthony Hopkins) to “play God” in controlling the lives of the hosts, and if so, is it always wrong for anyone to “play God”? ● Is the rebellion by the robot “hosts” against Delos Inc. a just war? If not, what would make it just? ● Is it possible for any dweller in Westworld to know that they are not themselves a host? Hosts are programmed to be unaware that they are hosts, and hosts do seem to have become conscious. ● Is Westworld a dystopia or a utopia? At first glance it seems to be a disturbing dystopia, but a closer look suggests the opposite. ● What’s the connection between the story or purpose of the Westworld characters and their moral sense? ● Is it morally okay to do things with lifelike robots when it would be definitely immoral to do these things with actual humans? And if not, is it morally wrong merely to imagine doing immoral acts? ● Can Westworld overcome the Chinese Room objection, and move from weak AI to strong AI? ● How can we tell whether a host or any other robot has become conscious? Non-conscious mechanisms could be designed to pass a Turing Test, so how can we really tell?
In Peanuts and Philosophy, twenty philosophers, from a diverse range of perspectives, look at different aspects of the Peanuts canon. How can the thoughts of children, who have yet to become grown-up, help us to become more grown up ourselves? Do we get good results from believing in something like the Great Pumpkin, even though we’re disappointed every time? What can Linus’s reactions to the leukemia of his friend Janice tell us about the stages of grief? Why don’t we settle what’s right and what’s wrong by the simple method of asking Lucy? Is true happiness attainable without a warm puppy? Do some people’s kites have a natural affinity for trees? Is Sally an anarchist, a nihilist, or just a contrarian? Does Linus’s reliance on his blanket help him or hurt him? Is Charlie Brown’s philosophy of life pathetic or inspirational? Other topics include: how the way children think carries general lessons about transcending our limitations; the Utopian quest as illustrated by Charlie’s devotion to the Little Red-Haired Girl; Snoopy’s Red Baron and history as selective memory; the Head Beagle as Big Brother. And, as we would expect, Lucy’s repeated cruel removal of Charlie's football has several philosophical applications.
This book explores how television series can be understood as a form of literature, bridging the gap between literary and television studies. It goes beyond existing adaptation studies and narratological approaches to television series in both its scope and depth. The respective chapters address literary works, themes, tropes, techniques, values, genres, and movements in relation to a broad variety of television series, while drawing on the theoretical work of a host of scholars from Simone de Beauvoir and Yuri Lotman to Ted Nannicelli and Jason Mittel, and on critical approaches ranging from narratology and semiotics to empirical sociology and phenomenology. The book fosters new ways of understanding television series and literature and lays the groundwork for future scholarship in a number of fields. By questioning the alleged divide between television series and works of literature, it contributes not only to a better understanding of television series and literary texts themselves, but also to the development of interdisciplinary scholarship in the humanities.
In Orphan Black, several apparently unconnected women discover that they are exact physical doubles, that there are more of them out there, that they are all illegally produced clones, and that someone is having them killed. They find themselves in the midst of a secret and violent struggle between a fundamentalist religious group, a fanatical cult of superhuman biological enhancement, a clandestine department of the military, and a giant biotech corporation. Law enforcement is powerless and easily manipulated by these sinister forces. The clones are forced to form their own Clone Club, led by the resourceful Sarah Manning, to defend themselves against their numerous enemies and to find out exactly where they came from and why. Orphan Black continually raises philosophical issues, as well as ethical and policy questions deserving philosophical analysis. What makes a person a unique individual? Why is it so important for us to know where we came from? Should we have a say in whether a clone is made of us? Is it immoral to generate clones with built-in health problems or personality defects — and if so, does that mean that producers of clones must practice eugenic selection? What light does the behavior of members of the Clone Club shed on the nature-nurture debate? Is it relevant that most are heterosexual, one is a lesbian, and one is a transgendered male? This TV show shows us problems of biotechnology which will soon be vital everyday issues. But what kind of a future faces us when human clones are commonplace? Will groups of human clones have a tight bond of solidarity making them a threat to democracy? If the world is going to be taken over by an evil conspiracy, would it better be a scientific cult like Neolution or a religious cult like the Prolethians? Should biotech corporations be able to own the copyright on human DNA sequences? What rules of morality apply when you can’t trust the police and powerful groups are ready to murder you?
The Princess Bride is the 1987 satirical adventure movie that had to wait for the Internet and DVDs to become the most quoted of all cult classics. The Princess Bride and Philosophy is for all those who have wondered about the true meaning of “Inconceivable!,” why the name “Roberts” uniquely inspires fear, and whether it’s truly a miracle to restore life to someone who is dead, but not necessarily completely dead. The Princess Bride is filled with people trying to persuade each other of various things, and invites us to examine the best methods of persuasion. It’s filled with promises, some kept and some broken, and cries out for philosophical analysis of what makes a promise and why promises should be kept. It’s filled with beliefs which go beyond the evidence, and philosophy can help us to decide when such beliefs can be justified. It’s filled with political violence, both by and against the recognized government, and therefore raises all the issues of political philosophy. Westley, Buttercup, Prince Humperdinck, Inigo Montoya, the giant Fezzik, and the Sicilian Vizzini keep on re-appearing in these pages, as examples of philosophical ideas. Is it right for Montoya to kill the six-fingered man, even though there is no money in the revenge business? What’s the best way to deceive someone who knows you’re trying to deceive him? Are good manners a kind of moral virtue? Could the actions of the masked man in black truly be inconceivable even though real? What does ethics have to say about Miracle Max’s pricing policy? How many shades of meaning can be conveyed by “As You Wish”?