Philosophy Of Film And Motion Pictures

Designed for classroom use, this authoritative anthology presentskey selections from the best contemporary work in philosophy offilm. The featured essays have been specially chosen for theirclarity, philosophical depth, and consonance with the current movetowards cognitive film theory Eight sections with introductions cover topics such as thenature of film, film as art, documentary cinema, narration andemotion in film, film criticism, and film's relation to knowledgeand morality Issues addressed include the objectivity of documentary films,fear of movie monsters, and moral questions surrounding the viewingof pornography Replete with examples and discussion of moving picturesthroughout

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject.

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

This volume collects twenty original essays on the philosophy of film. It uniquely brings together scholars working across a range of philosophical traditions and academic disciplines to broaden and advance debates on film and philosophy. The book includes contributions from a number of prominent philosophers of film including Noël Carroll, Chris Falzon, Deborah Knight, Paisley Livingston, Robert Sinnerbrink, Malcolm Turvey, and Thomas Wartenberg. While the topics explored by the contributors are diverse, there are a number of thematic threads that connect them. Overall, the book seeks to bridge analytic and continental approaches to philosophy of film in fruitful ways. Moving to the individual essays, the first two sections offer novel takes on the philosophical value and the nature of film. The next section focuses on the film-as-philosophy debate. Section IV covers cinematic experience, while Section V includes interpretations of individual films that touch on questions of artificial intelligence, race and film, and cinema’s biopolitical potential. Finally, the last section proposes new avenues for future research on the moving image beyond film. This book will appeal to a broad range of scholars working in film studies, theory, and philosophy.

This volume advances the contemporary debate on five central issues in the philosophy of film. These issues concern the relation between the art and technology of film, the nature of film realism, how narrative fiction films narrate, how we engage emotionally with films, and whether films can philosophize. Two new essays by leading figures in the field present different views on each issue. The paired essays contain significant points of both agreement and disagreement; new theories and frameworks are proposed at the same time as authors review the current state of debate. Given their combination of richness and clarity, the essays in this volume can effectively engage both students, undergraduate or graduate, and academic researchers.

Film and philosophy have much in common, and books have been written on film and philosophy. But can films be, or do, philosophy? Can they “think”? Film as Philosophy is the first book to explore this fascinating question historically, thematically, and methodically. Bringing together leading scholars from universities across the globe, Film as Philosophy presents major new research that leads film studies and philosophy into a productive dialogue. It provides a uniquely sweeping, historical overview of the confluence of film and philosophy for more than a century, considering films from Jean Renoir, Lars von Trier, Jørgen Leth, David Lynch, Michael Haneke, and others; the written works of filmmakers who also theorized on the medium, including Sergei Eisenstein and Jean Epstein; and others who have written on cinema, including Hugo Münsterberg, Béla Balázs, André Bazin, Henri Bergson, Gilles Deleuze, Stanley Cavell, Alain Badiou, Jacques Rancière, and many more. Representing a major step toward establishing a media philosophy that puts the status, role, and function of film into a new perspective, Film as Philosophy removes representational techniques from the center of inquiry, replacing these with the medium’s ability to “think.” Hence it accords film with “agency,” and the dialogue between it and philosophy (and even neuroscience) is negotiated anew. Contributors: Nicole Brenez, U of Paris 3–Sorbonne; Elisabeth Bronfen, U of Zurich; Noël Carroll, CUNY; Tom Conley, Harvard U; Angela Dalle Vacche, Georgia Institute of Technology; Gregory Flaxman, U of North Carolina, Chapel Hill; Alex Ling, Western Sydney U; Adrian Martin, Monash U; John Ó Maoilearca, Kingston U, London; Robert Sinnerbrink, Macquarie U, Sydney; Murray Smith, U of Kent, Canterbury; Julia Vassilieva, Monash U, Melbourne; Christophe Wall-Romana, U of Minnesota; and Thomas E. Wartenberg, Mount Holyoke College.

Whether addressing assumptions about the objectivity of documentary film, fear of movie monsters, or moral questions surrounding the viewing of pornography, this text is replete with examples and discussion of moving pictures throughout. Book jacket.

Philosophy and Film moves from broad theoretical reflections on film as a medium to concrete examinations of individual films.