(1) The Ontology of Film
Sinnerbrink spends a lot of time in the beginning chapters discussing the evolution of film and what its ontology could consist of. He notes many developments, such as digital and color film, the actual movement of the image, and modern filmmaking techniques that have changed how cognitivists and medium essentialists look at what a film is. Furthermore, films like La Jete challenge the traditional notion of what it means to be a moving picture. A possible paper topic might be a small treatment of the history of film's ontology followed by a defense of what I'd consider would be the best way to look at it. In other words, how and why should we think of a film's ontology, and what specific contexts come bound up with that?
(2) Other Films that Do Philosophy
Sinnerbrink thinks that a film can be originally philosophical outside the grounds of an overarching philosophical system or theory. Part of the problem with his goal is how difficult a notion this is to comprehend, especially outside explicit examples. The task here would be to pick another film and write a short paper on its contribution to the film as philosophy mindset.
(3) Evaluate, Compare/Contrast
Sinnerbrink covers many different arguments from various philosophers in his book. Perhaps a paper could be written discussing two of these theories (most likely opposing) and their influence on Sinnerbrink's goal of a marriage of film and philosophy.
Please feel free to comment on any of these or add some new ideas.
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