ABSTRACT Jean-Luc Godard’s Alphaville: une étrange aventure de Lemmy Caution (1965) constitutes a strikingly brilliant mise en scène of strife between humans and logic. Led by a supercomputer and its scientist-creator, this technocratic city annihilates emotive human creativity. I argue that this dystopian science fiction film is philosophy, precisely because it engages a problem that philosophers also address, namely humanity’s relationship to art and logic. I present this film as an example in defense of the ‘bold thesis’ for film as philosophy developed by Paisley Livingston (2006). Though Livingston argues against this thesis, Aaron Smuts (2009) provides a valiant defense, to which Livingston (2009) responds, stating that only a more relevant example is missing. Supplying this example is the precise intention of this article. To do so, I begin with a discussion of Nietzsche’s The Birth of Tragedy ([1872] 1967), to provide a legitimate philosophical background from which to show how Alphaville not only serves as a thought experiment of prior established philosophy, but also builds upon those ideas to create its own philosophical contribution.

中文翻译：

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艺术与逻辑：戈达尔的《阿尔法维尔》作为哲学

摘要让·卢克·戈达尔（Jean-Luc Godard）的《阿尔法维尔：莱米小心行进》（1965）构成了人类与逻辑之间冲突的惊人辉煌之作。在超级计算机及其科学家创造者的带领下，这座技术专家城市消灭了情感上的人类创造力。我认为这部反乌托邦科幻电影是哲学，正因为它涉及到哲学家也要解决的问题，即人类与艺术和逻辑的关系。我以这部电影为例，捍卫Paisley Livingston（2006）提出的作为电影哲学的“大胆论点”。尽管利文斯顿反对这一论点，但亚伦·斯穆茨（Aaron Smuts（2009））提供了英勇的辩护，利文斯顿（2009）对此做出了回应，指出仅缺少一个更相关的例子。提供此示例是本文的确切意图。为此，