Film Theory and Philosophy

Erscheinungsjahr 1999
ISBN: 978-0-19-815988-9
Verlag: OUP Oxford

Buch, Englisch, 486 Seiten, Format (B × H): 156 mm x 234 mm, Gewicht: 734 g

While concepts from and debates within Continental philosophy have long formed a backdrop to arguments in film theory and criticism, exchanges between Anglo-American `analytic' philosophy and film studies have been relatively few and far between. In recent years this has begun to change, as the consensus around semiotic and psychoanalytic approaches has weakened, as film scholars have turned their attention to other sources such as cognitive theory and analytic philosophy, and as philosophers have taken a more focused interest in film.

This volume provides further momentum to these developments. It is comprised of new essays on a wide range of topics by both film scholars and philosophers who share the commitment to conceptual investigation, logical consistency, and clarity of argument that characterizes analytic philosophy.

The first section addresses the nature of cinematic representation, while the second section re-examines notions of authorship and intentionality in our understanding and appreciation of films. Sections 3 and 4 look at ideology and aesthetics respectively, while the final section considers the nature and place of emotion in film spectatorship. The diversity of the questions addressed here (aesthetics and politics in black film theory, film music, authorship, genre, comedy, epistemology, feminism, and film theory) is matched by the range of positions argued for and demonstrates a vital plurality of perspectives rather than a single line of thought.

Autoren/Hrsg.

Allen, Richard

Smith, Murray

Fachgebiete

• Geisteswissenschaften Kunst Kunst, allgemein Kunsttheorie, Kunstphilosophie
• Geisteswissenschaften Philosophie Ästhetik
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmtheorie, Filmanalyse
• Interdisziplinäres Wissenschaften Wissenschaft und Gesellschaft | Kulturwissenschaften Kulturwissenschaften

Inhaltsverzeichnis

- Introduction: Film Theory and Philosophy

- PART 1 What is Cinematic Representation

- 1: Gregory Currie: The Film Theory that Never Was: A Nervous Manifesto

- 2: Kendall L. Walton: On Pictures and Photographs: Objections Answered

- 3: Richard Allen: Looking at Motion Pictures

- 4: Edward Branigan: Sound, Epistemology, Film

- PART 2 Meaning, Authorship, and Intention

- 5: Paisley Livingston: Cinematic Authorship

- 6: Berys Gaut: Film Authorship and Collaboration

- 7: Noel Carroll: Fiction, Non-Fiction, and the Film of Presumptive Assertion: A Conceptual Analysis

- 8: Trevor Ponech: What is Non-Fiction Cinema?

- 9: George Wilson: On Film Narrative and Narrative Meaning

- PART 3 Ideology and Ethics

- 10: Jennifer Hammett: The Ideological Impediment: Epistemology, Feminism, and Film Theory

- 11: Hector Rodriguez: Ideology and Film Culture

- 12: Tommy Lott: Aesthetics and Politics in Contemporary Black Film Theory

- PART 4 Aesthetics

- 13: Peter Kivy: Music in the Movies: A Philosophical Enquiry

- 14: Flo Leibowitz: Personal Agency Theories of Expressiveness and the Movies

- 15: Deborah Knight: Aristotelians on Speed: Paradoxes of Genre in the Context of Cinema

- PART 5 Emotional Response

- 16: Carl Plantinga: Notes on Spectator Emotion and Ideological Film Criticism

- 17: Dirk Eitzen: Comedy and Criticism

- 18: Murray Smith: Imagining from the Inside: POV, Imagining Seeing, and Empathy

- 19: Malcolm Turvey: Seeing Theory: On Perception and Emotional Response in Current Film Theory

- Select Bibliography

- Index

Über Autor(innen)

Richard Allen is Associate Professor of Cinema Studies, New York University

Murray Smith is Lecturer in Film Studies at the University of Kent at Canterbury