This article is about a relationship between the Socratic practice of philosophy and the aesthetic practice of watching and appreciating film. The conclusion that I defend is that certain narrative films, like the elenctic method in the hands of Socrates, are philosophical tools for examining our cognitive and emotional life and thus for gaining insight into aspects of our character. In the early sections of the article I construct an analogy between the practice of watching narrative film and the practice (...) of self-examination through dialogue and reflection. I argue that good aesthetic practice in film appreciation is analogous to good philosophical practice in the manner of Socrates, and I treat the elenchus as a method of self-examination rather than of conceptual analysis and Socrates himself as an examiner of people rather than of abstract concepts. In the later sections I discuss three films directed by Christopher Nolan—Memento, The Prestige, and Inception —as paradigm cases of Socratic film. I argue that these films show us something about ourselves by prompting extemporaneous emotional responses and cognitive judgments that we come, reflectively, to reject. (shrink)

This article addresses two puzzles, one about the nature of satire and its kinship with moral philosophy and the other about the possibility of practicing philosophy through works of art. While it has long been noted that moral satire and applied ethics share subject matter in common, there has been little attention to the prominence of argument by analogy in satire. This essay shows that satire has a kinship with moral philosophy close enough that it is possible to practice philosophy (...) through satire and thus possible to practice philosophy through works of narrative fiction. (shrink)