By No?l Carroll, Jinhee Choi
This authoritative anthology offers key choices from the easiest modern paintings in philosophy of movie and movies. Designed for lecture room use, the essays that include this quantity were in particular selected for his or her readability, precision, philosophical intensity, and consonance with present cognitive technology and psychology.
The volume's 8 sections, every one brought by way of the editors, hide issues resembling
Film as paintings the character of movie Documentary cinema Narration and emotion in movie movie feedback Film's relation to wisdom and morality
Whether addressing assumptions concerning the objectivity of documentary movie, worry of motion picture monsters, or ethical questions surrounding the viewing of pornography, this article is replete with examples and dialogue of relocating photographs all through.
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Extra resources for Philosophy of Film and Motion Pictures: An Anthology
Understanding is not secured either by rules or by conventions but seems to be, on the contrary, a natural function of the normal eye. As we see the meaning of the painting, so do we see the meaning of its parts. This contrasts sharply with the case of reference in language, where we construct the meaning of the sentence from the reference of its parts, and where the parts themselves have reference in a way that is ultimately conventional. There seems to be no justification, then, for thinking of representation in terms of reference.
It may, for example, involve a representation of Venus or of Silenus in the manner of the two types of ‘fictional’ photographs considered earlier. But representation will not be a property of the mirror. It is impossible that I could, simply by holding a mirror before someone, make him into a representation of himself. For after all, whether I look at him or at the mirror, in either case it is him that I see. If the mirror is to become the expression of a representational thought, it too must be denatured; like the photomontage, it must be freed from the causal chain which links it to its subject.
Art is fundamentally serious; it cannot rest content with the gratification of fantasy, nor can it dwell on what fascinates us while avoiding altogether the question of its meaning. As Freud put it in another context, art provides the path from fantasy back to reality. 27 Convention in art, as Freud saw, is the great destroyer of fantasies. It prevents the ready realization of scenes that fascinate us, and substitutes for the creation of mere semblance the elaboration of reflective thought. The cinema has been devoted from its outset to the creation of fantasies.
Philosophy of Film and Motion Pictures: An Anthology by No?l Carroll, Jinhee Choi