Cinema of Liberation: Enrique Dussel, ethics, film-philosophy.
This paper examines the potential for a Dusselian ethics in film-philosophy, considering what it might mean to discuss a “cinema of liberation” after the Dusselian philosophy of liberation.
In the 2000s, film-philosophy has turned to Emmanuel Levinas in order to explore ethical relationships in cinema. However, Enrique Dussel, a Latin American philosopher whose ethics develops upon that of Levinas, remains unexplored. The possibilities that his work offers to film-philosophy relate to the historical and political dimension it can provide to a conception of ethics that might relate to world cinemas.
There is a different ethical conception of the role of the self in relation to the other in Levinas and Dussel, and the role of economics and geopolitics in understanding ethical relationships is more central to Dussel’s ethics than to that of Levinas. This stems from Dussel’s Latin American perspective on history, which reconceives of modernity (after Wallerstein) as beginning in 1492 with the discovery of the Americas and the problematic Eurocentric formulation of the self and other that this entails.
Accordingly, using films as diverse as La Promesse/The Promise (1996), and Tambien la Lluvia/Even the Rain (2010), this paper considers how a Dusselian “cinema of liberation” might be posited to exist and function in film, and its possible relevance to films from various parts of the world.