Shakespeare, Knut Hamsun, Flannery O’Connor, and the Medieval Icelandic Göngu-Hrolfs saga each explore who is the alien, and who is alienated, within our borders.
In Gramscian fashion, Frétigné details the material conditions of Antonio Gramsci’s insight and influence while shirking historical determinism and abstract idealism.
Why create such a highly-fictionalized, aestheticized setting as Life Is Strange to express the confusion and contradictions of life?
In his book, An Event, Perhaps, Derrida's intellectual development is adroitly unpacked by Peter Salmon without bamboozling the reader or peddling dime-store psychologizing.
Andrew H. Miller's On Not Being Someone Else considers how contemplating other possibilities for one's life is a way of creating meaning in the life one leads.
Critic Roger Ebert was frustrated with Abbas Kiarostami's Taste of Cherry because the film subverts our desire to understand another -- the very core of cinema's intent.
Paul Schrader's The Comfort of Strangers presents the discomfiting encounter with another —someone like you—and yet entirely unlike you, mysterious to you, unknown and unknowable.
Bruce Lee's fight scenes evoke Gestalt theory: actual perception is a response to a provocation. Consider this philosophy while watching the films in Bruce Lee: His Greatest Hits and you too can become the water.
In a strange kind of way, Miranda July's Me and You and Everyone We Know is about two competing notions of "forever" in relation to love.