Foreword: Can We Not Talk about Sex All the Time? |
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ix | |
Acknowledgments |
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xii | |
Introduction: You Know Nothing of My Work |
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1 | (4) |
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Act I MORALITY, INTERPRETATION, AND THE MEANING OF LIFE |
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5 | (62) |
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God, Suicide, and the Meaning of Life in the Films of Woody Allen |
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7 | (17) |
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Integrity in Woody Allen's Manhattan |
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24 | (9) |
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Does Morality Have to Be Blind? A Kantian Analysis of Crimes and Misdemeanors |
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33 | (15) |
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Arguing Interpretations: The Pragmatic Optimism of Woody Allen |
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48 | (19) |
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67 | (100) |
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The Mousetrap: Reading Woody Allen |
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69 | (20) |
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Woody on Aesthetic Appreciation |
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89 | (12) |
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Art and Voyeurism in the Films of Woody Allen |
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101 | (17) |
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``You Don't Deserve Cole Porter'': Love and Music According to Woody Allen |
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118 | (14) |
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Dead Sharks and Dynamite Ham: The Philosophical Use of Humor in Annie Hall |
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132 | (19) |
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Reconstructing Ingmar: The Aesthetic Purging of the Great Model |
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151 | (16) |
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167 | (92) |
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The Dangers of Hedonism: A Midsummer Night's Sex Comedy |
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169 | (17) |
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Inauthenticity and Personal Identity in Zelig |
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186 | (17) |
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It's All Darkness: Plato, The Ring of Gyges, and Crimes and Misdemeanors |
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203 | (15) |
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Self Knowledge in Another Woman |
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218 | (25) |
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Woody Allen's Film Noir Light: Crime, Love, and Self-Knowledge in The Curse of the Jade Scorpion |
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243 | (16) |
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Entertainment for Intellectuals: A Woody Allen Filmography |
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259 | (2) |
All These Great Minds . . . |
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261 | (4) |
Index |
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265 | |