Film Theory and Philosophy
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Product details:
- Publisher OUP Oxford
- Date of Publication 13 May 1999
- ISBN 9780198159889
- Binding Paperback
- No. of pages486 pages
- Size 234x155x27 mm
- Weight 682 g
- Language English 0
Categories
Short description:
This volume of new essays gives impetus to a growing movement in film theory in which many of the assumptions that have governed film theory of the last twenty years are being questioned and overturned. It brings together film scholars and philosophers united by a commitment to the standards of argumentation that characterize analytic philosophy rather than by a single doctrinal approach. Topics addressed include genre, authorship, emotion, ideology, representation, and expression in film.
MoreLong description:
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.
The contributions are all of a high standard. Problems are clearly defined, concepts clarified, fine distinctions drawn, objections considered, and supporting evidence purveyed. In their documentation, scrupulous attention to opposing arguments, integrity, and clarity of reasoning, the contributions are models of professional academic philosophy ... The many virtues of the analytical tradition are manifest in chapter after chapter ... This anthology merits close perusal by anyone interested in genuine film theory.
Table of Contents:
Introduction: Film Theory and Philosophy
PART 1 What is Cinematic Representation
The Film Theory that Never Was: A Nervous Manifesto
On Pictures and Photographs: Objections Answered
Looking at Motion Pictures
Sound, Epistemology, Film
PART 2 Meaning, Authorship, and Intention
Cinematic Authorship
Film Authorship and Collaboration
Fiction, Non-Fiction, and the Film of Presumptive Assertion: A Conceptual Analysis
What is Non-Fiction Cinema?
On Film Narrative and Narrative Meaning
PART 3 Ideology and Ethics
The Ideological Impediment: Epistemology, Feminism, and Film Theory
Ideology and Film Culture
Aesthetics and Politics in Contemporary Black Film Theory
PART 4 Aesthetics
Music in the Movies: A Philosophical Enquiry
Personal Agency Theories of Expressiveness and the Movies
Aristotelians on Speed: Paradoxes of Genre in the Context of Cinema
PART 5 Emotional Response
Notes on Spectator Emotion and Ideological Film Criticism
Comedy and Criticism
Imagining from the Inside: POV, Imagining Seeing, and Empathy
Seeing Theory: On Perception and Emotional Response in Current Film Theory
Select Bibliography
Index
