By Katherine Thomson-Jones
This quantity advances the modern debate on 5 crucial concerns within the philosophy of movie. those concerns drawback the relation among the artwork and know-how of movie, the character of movie realism, how narrative fiction movies narrate, how we have interaction emotionally with motion pictures, and even if movies can philosophize. new essays by way of top figures within the box current varied perspectives on each one factor. The paired essays include major issues of either contract and confrontation; new theories and frameworks are proposed whilst authors overview the present nation of discussion. Given their mix of richness and readability, the essays during this quantity can successfully have interaction either scholars, undergraduate or graduate, and educational researchers.
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Extra resources for Current Controversies in Philosophy of Film
But Hopkins questions the essential realism of a transparent image and thereby threatens Wilson’s argument for complex perceptual realism. This potential threat is particularly striking given that Hopkins’s notion of realism as “collapse” and Wilson’s notion of extended perceptual realism account for the same central aspect of film viewing experience. Part III: How Do Films Work as Narrative Fictions? In response to the foregoing question, both our authors, Noël Carroll and Angela Curran, are interested in the way narrative fiction films work on us, the viewers, in order to convey a story, specifically by prescribing us to imagine certain things in certain ways.
Likewise, purely vocal music is an art form that is not technological. But the cinematic art form is technological, for the same reason as the cinematic medium is technological: It cannot exist without knowledge of how to make physical artifacts. So there is no cinematic art without cinematic technology. This ontological dependence claim may seem false. Could there not be kinds of cinema that do not rely on physical artifacts for their production? Suppose that there were a kind of creature, the cinematons, who had a natural ability to communicate with each other by projecting publicly observable moving images simply by thinking, employing no technology.
In the case of narrative fiction film, this would mean that we are not meant to imagine how we came to have a certain view on fictional events, as though it were provided by a ubiquitous and implicit visual narrator. On the other hand, the principle of indeterminacy permits a role for imagined seeing in our engagement with fiction films. Given fictional indeterminacy, it would not be the case that in imagining seeing depicted events, our engagement with the fiction would be automatically compromised by our also having to imagine the means by which we were seeing the fiction.
Current Controversies in Philosophy of Film by Katherine Thomson-Jones