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Humanism and art - To what extent does art have a major role to play in twenty-first-century humanism? Greek philosophers believed that its purpose was ethical, serving to improve people by confronting them with evil and purging their passions. Nineteenth-century literature saw it as edifying and utilitarian, and for two centuries it was associated with the principles of goodness, truth, freedom and resistance to oppression, part of a general movement towards greater human solidarity based on shared experience. Literature and, more recently, cinema have been the most effective at defending human values. But the role of culture is not purely ethical: it also encourages a purely aesthetic reflection that has become the sole truth of creation. The aspiration to beauty reminds us that mankind is no ordinary species, but a reminiscence of the ideal objectified in works of art. The quest for the absolute is that of artists who draw on the lessons of history to come closer to the essence of spirituality and the cosmic centre of the world. Artistic vision is the ultimate vocation of humanity, achieving greatness and dignity in a constant quest for illumination, engaging in dialogue with the transcendent, and perhaps even transcending our own finiteness. [ABSTRACT FROM AUTHOR]

The article explores how a motion picture spectator establishes a connection between a cinematographic experience and reality, referred to as spectation by the author. It examines works by French philosopher and film theorist Jean-Louis Schéfer and American philosopher Stanley Cavell to shed light on their underlying principle. The author concludes that Schéfer sees motion pictures as a poetic experience and Cavell sees them as a moral experience.

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The article presents an interview of film enthusiast and philosopher Jacques Rancière. When asked about the proposal of philosophy of the cinema, he said that he would not define his work as a philosophy of the cinema. Generally he does not think that philosophy is a philosophy of something. He said that if there is clean cinema, it is in the manner that it has to figure up powers which come to him besides. The emotion of a film can hold entirely by its music. It is known that many standard Hollywood films were idealized because the operators from Germany had a particular skill which returns marvelous pictures, even in mediocre films. It inherits in it particularly the possibility of binding the romantic sequence to the suspense of the narration. The cinema saw much the intensification of procedures which come to him from the novel which is, like him, a democratic art, an art able to speak about all. A variation can give itself multiple manners. It is necessary to start by recognizing that there is variation in any identity.