ABSTRACT
When Hollywood examines what makes a hero, it frequently chooses the adaptable genre of comedy, and beyond it experiences difficulties with this theme. When dealing with the hero in that realm of the extraordinary provided by civilisation in times of war, Eastwood calmly, yet emphatically, tackles heroism as a concept which is 'constructed', built up, hyped up. A philosophical aesthetic of film refers not only, however, to its narrative level in a broader sense, at which verbally articulated and medially composed self-reflection of the figures, theme and subjects takes place; an aesthetic of film, and particularly a philosophical one, also refers to the ontological level. The hermeneutics of image or vision also reinforces the fact that art cannot be understood according to the linguistic paradigm. Its model is not language in the semantic-propositional sense. In the phenomenological tradition Deleuze is indeed interested in presentic articulation, in a linguistic pointing out which is not completely absorbed in propositions.
