The Philosophy of Motion Pictures

The Philosophy of Motion Pictures

Language: English

Pages: 256

ISBN: 1405120258

Format: PDF / Kindle (mobi) / ePub

Philosophy of Motion Pictures is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation.

  • Clearly written and supported with a wealth of examples
  • Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address

Wabi Sabi: The Japanese Art of Impermanence

Branches: Nature's Patterns: A Tapestry in Three Parts

Introducing Aesthetics: A Graphic Guide

Engaging the Moving Image











thought. Mirrors are not expressions of thought; they are optical appliances whose images are produced naturally, not intentionally. They relay appearances to us mechanically. There is no point in taking an interest in them in the way that we care about paintings. In fact, the only way to take an interest in the images in mirrors, if our interest is not scientific, is to be occupied by what they show us — like the police cruiser with the flashing blue light in our rear-view mirror. Likewise, the

ontological distinction between theater and cinema. Specifically: live theatrical, token performances are generated by interpretations, whereas token performances of motion pictures are generated by templates. Moreover, this yields a perhaps unexpected artistic distinction between the two kinds of performance. Theatrical performances are artworks in their own right and, as such, are subject to artistic evaluation, but the performance of a motion picture (a motion picture showing) is neither an

theorist alleges that there is, he begs the question. But what of the second example — the case where the rose that dominates our visual field is really directly in front of us but where we doubt it because we are entertaining the suspicion that a Cartesian-type deceiver has surrounded us with a baroque maze of misleading mirrors? Certainly we are seeing the rose, even though, if asked, we might say we don?t believe we can point or otherwise orient our bodies toward it. Nevertheless, it pays to

In this part of the chapter, we will first examine a way in which movies may promote our emotional connection with characters and then we will conclude by discussing what we call "the mirror reflex," a mode available to audio­ visual fictions, but not literary ones. Identification A natural place to initiate a discussion about the emotional relationship of viewers to fictional movie characters is the notion of identification. There are several reasons for this. First, when asked for an account of

proponents recommend it. That is, is it a comprehensive or nearly comprehensive account of our emotional relationship to characters in popular fictions? Does it account for our standard emotive relationships with fictional characters? Is it the emotional bond that typically ties us to them? Asymmetric emotions Even a cursory review of cases indicates that the infection model of identification is unlikely to provide anything even approaching a general account of our emotional relationships to the

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