Abstract (eng)
Facing our contemporary era of multimedia communication, films are clearly seen as an indispensable part of our daily lives. Since the invention of the cinematograph made by the Lumière brothers in 1875, films have not only been economically prosporous in terms of representing one of the most popular entertainment mediums, but have also been culturally well-respected as artworks. Although the history of the moving image can only be dated back about one hundred years ago, we can already revert to a philosophical school of thought devoted to film directly focussing on the relation between film and philosophy, which is has influenced academic discourse in the field of aesthetics significantly. From the second half of the twentieth century onwards, film philosophy representatives have managed to separate themselves from the main concepts of film theory in order to be able to philosophically reflect on film. However, making a distinction between the following two ways of interpreting the term film philosophy is crucial: While film philosophy in the sense of a genitivus subiectivus stands for discussing philosophical issues displayed in films (film in philosophy), film philosophy in the sense of a genitivus obiectivus refers to reflecting on film as a philosophical issue in itself (film as philosophy).
Facing its impact on economy, society and arts, it comes as no surprise that films have also found their way into scholastic contexts. In spite of initial criticism and sceptic remarks which followed when the so-called new media were introduced in classrooms by the mid eighties, films are nowadays seen as tools with great didactic potential, frequently used by Austrian teachers. With regard to the medium’s success, it is especially its ability to visualize theoretical isues and to make complex issues concrete, which makes films especially suitable for teaching philosophy and ethics as school subjects. Additionally, by presenting true-to-life subjects, films can help teachers to emotionally connect with students, increasing their motivation for engaging in philosophical discourse. In order to reduce preconceptions about working with films in the classroom, it is most important to make students actively work with films and to help them overcoming passive film reception.
The thesis at hand is about the relation between philosophy and film in the sense of how films can be integrated in teaching philosophy and ethics. By combining theoretical findings coming from the subject fields of film philosophy and media didactics with a qualitative interview study, a teacher’s manual was produced, aiming at giving orientation to those who are still insecure about how to use films in their classroom.