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. (shrink)

The figure of the auteur continues to haunt the study of film, resisting both the poststructuralist charges that pointed to its absence and the histories of production demonstrating its pitfalls. In an era defined by the instability of identities and the recycling of works, Performing Authorship offers a refreshingly new take on the cinematic auteur, proposing that the challenges that once accelerated this figure's critical demise should instead pump new life into it. Performing Authorship is an illuminating analysis (...) of films by Jean-Luc Godard, Woody Allen, Agnes Varda, Orson Welles, Jean Rouch, Eduardo Coutinho and Sarah Turner that shows directors shifting between opposite movements towards authorial assertion and divestiture, palpability and disappearance, exposure and masking. In making this journey, Cecilia Sayad argues, the film author is not necessarily at the work's origin, nor does it constitute the end product. What the new concept of performing authorship describes is the making and unmaking of a subject"--Publisher website. (shrink)

From mainstream blockbusters to art house cinema, narrative and narration are the driving forces that organize a film. Yet attempts to explain these forces are often mired in notoriously complex terminology and dense theory. Warren Buckland provides a clear and accessible introduction that explains how narrative and narration work using straightforward language. Narrative and Narration distills the basic components of cinematic storytelling into a set of core concepts: narrative structure, processes of narration, and narrative agents. The book opens with a (...) discussion of the emergence of narrative and narration in early cinema and proceeds to illustrate key ideas through numerous case studies. Each chapter guides readers through different methods that they can use to analyze cinematic storytelling. Buckland also discusses how departures from traditional modes, such as feminist narratives, art cinema, and unreliable narrators, can complicate and corroborate the book's understanding of narrative and narration. Examples include mainstream films, both classic and contemporary; art house films of every stripe; and two relatively new styles of cinematic storytelling: the puzzle film and those driven by a narrative logic derived from video games. Narrative and Narration is a concise introduction that provides readers with fundamental tools to understand cinematic storytelling. (shrink)

Contemporary Complex Cinema. Complex conditions: the resurgence of narrative complexity ; Complex cinema as brain-candy for the empowered viewer ; Narrative taxonomies: simple, complex, puzzle plots -- Cognitive Approach to Contemporary Complex Cinema. Why an (embodied-)cognitive approach? ; Various forms of complexity and their effects on sense making ; Problematizing narrative linearity ; Complicating narrative structures and ontologies ; Under-stimulation and cognitive overload ; Contradictions and unreliabilities ; A cognitive approach to classifying complexity ; Deceptive unreliability and the twist film (...) ; Disorienting but solvable puzzle films ; Impossible puzzle films -- Narrative Complexity and Dissonant Cognitions. The concept of cognitive dissonance ; Cognitions in dissonance: from social psychology to narrative engagement ; Types of dissonance in narrative comprehension ; Narrative incongruities ; Narrative impossibilities ; Cognitive access to impossible storyworlds: immersed and reflected operations ; 'Impossibilities' and embodied cognition ; Disrupting viewers' reliance on image schemas by perceptual impossibility ; Disrupting viewers' reliance on image schemas by formal impossibility -- Taming Dissonance: Cognitive Operations and Interpretive Strategies. Cognitive dissonance versus narrative coherence ; Reducing dissonance: interpretation and naturalization ; Foregrounding ; Narrating agency and authorship ; Artefact emotions and metareflexive appreciation ; Interpretation as dissonance reduction ; Coping with dissonance: frame-switches and poetic and aesthetic readings ; Frame-switching as hermeneutic play in impossible puzzle films ; Switching between narrative and symbolical readings: Enemy and Mulholland Drive ; Cognitive hesitation and the fantastic -- Impossible Puzzle Films: Between Art-Cinema and (Post-) Classical Narration. From art-cinema to puzzle films ; Art-cinema as a narrative mode ; Dissonance in modernist art-cinema ; Art-cinema as a cognitive reception frame ; Narrative complexity and meaning-making in art-cinema ; Impossible puzzle films and (post-)classical narration ; High degree of tellability ; Identification with goal-oriented characters ; Strong reliance on classical genre elements ; Adherence to classical narrative cohesion devices ; Inclusion of quasi-rational frames of naturalization -- Wallowing in Dissonance: The Attractiveness of Impossible Puzzles. Hermeneutic play and interpretive multiplicity ; Orientation, navigation, mapping ; Game logic and the fascination in failure ; Effort justification ; Diegetization of decoupling ; Fascination in infinity ; Destabilized ontological certainty ; Eudaimonic motivations and intrinsic needs. (shrink)

_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.

The increasingly popular idea that cinematic fictions can "do" philosophy raises some difficult questions. Who is actually doing the philosophizing? Is it the philosophical commentator who reads general arguments or theories into the stories conveyed by a film? Could it be the film-maker, or a group of collaborating film-makers, who raise and try to answer philosophical questions with a film? Is there something about the experience of films that is especially suited to the stimulation of worthwhile philosophical reflections? In the (...) first part of this book, Paisley Livingston surveys positions and arguments surrounding the cinema's philosophical value. He raises criticisms of bold theses in this area and defends a moderate view of film's possible contributions to philosophy. In the second part of the book he defends an intentionalist approach that focuses on the film-makers' philosophical background assumptions, sources, and aims. Livingston outlines intentionalist interpretative principles as well as an account of authorship in cinema. The third part of the book exemplifies this intentionalist approach with reference to the work of Ingmar Bergman. Livingston explores the connection between Bergman's work and the Swedish director's primary philosophical source-a treatise in philosophical psychology authored by the Finnish philosopher, Eino Kaila. Bergman proclaimed that reading this book was a tremendous philosophical experience for him and that he "built on this ground." With reference to materials in the newly created Ingmar Bergman archive, Livingston shows how Bergman took up Kaila's topics in his cinematic explorations of motivated irrationality, inauthenticity, and the problem of self-knowledge. (shrink)

"Tough, smart, superbly engaging, The Material Ghost is a terrific book." -- Edward W. Said In The Material Ghost , Gilberto Perez draws on his lifelong love of the movies as well as his work as a film scholar to write a lively, wide-ranging, penetrating study of films and filmmakers and the nature of the art form. For Perez, film is complex and richly contradictory, lifelike and dreamlike at once, a peculiar mix of reality and imagination. "The images on the (...) screen," he writes, "carry in them something of the world itself, something material, and yet something transposed, transformed into another world: the material ghost." "Dazzling... The sheer intelligence at work in these lucid pages is exhilarating." -- Alfred Guzzetti, Boston Book Review "A pleasure. Gilberto Perez is one of the smartest film critics writing anywhere." -- Jonathan Rosenbaum "Strikes an ideal balance between insightful analysis and graceful writing... A model of thoughtful criticism." -- David Sterritt, Christian Science Monitor "Brilliantly polemical in his critique of cynical reason ('the official philosophy of late capitalism'), no less passionate in defending the truth-value of cinema, Perez seems to be the clearest heir to the great humanist critic André Bazin." -- Sight & amp Sound "The chapters on Keaton and Renoir are stunning, full of perceptive remarks the chapter on Godard is a persuasive rehabilitation none of the chapters is without memorable insights." -- Michael Wood, London Review of Books "Gilberto Perez's ambitious, abundant, and cultivated book--the fruit of decades of thinking and teaching -- accompanies readers on a journey of discovery into the wonder of film." -- Stanley Cavell "Few books of film criticism in the past twenty-five years have been so enjoyable or instructive... [Perez] has excellent things to say about authorship, about documentaries, about popular genres, about cinematic point of view and narrative technique, about actors, and above all about camera style... He makes us want to look once more at the remarkable pictures he discusses." -- James Naremore, Cineaste. (shrink)

This chapter offers a critical survey of philosophical debate about the nature and definition of screenplays, their relationship to finished motion pictures, and the screenwriter’s claim to authorship. Screenwriting may be studied as a kind of art practice in its own right and as an integral part of most sorts of filmmaking. This chapter focuses on the latter and outlines some of the ways in which screenwriting and screenplays connect to a number of philosophical questions about motion (...) pictures—in particular, authorship, ontology, and evaluation in both artistic and ethical terms [1].[1] For a sustained discussion of screenwriting as an art practice in its own right and screenplays as literary artworks, see Ted Nannicelli, A Philosophy of the Screenplay. (shrink)

This volume of new essays energizes a growing movement in film theory which questions and seeks to overturn many of the assumptions that have governed film theory for the last twenty years. The book brings together film scholars and philosophers in a united commitment to the standards of argumentation that characterize analytic philosophy rather than a single doctrinal approach. The essays address such topics as authorship, emotion, ideology, representation, and expression in film.

Organized around a series of philosophic questions about film,The Philosophy of Film: Introductory Text and Readingsoffers an accessible and engaging overview of the discipline. Provides thorough selection of readings drawn from philosophy,film studies, and film criticism Multiple points of view highlighted in discussion of filmtheory, narration, authorship, film and emotion, and the socialvalues of cinema Presents thought-provoking reading questions as well as clearand helpful introductions for each section More information about this text along with further resourcesare available from the (...) accompanying website at:http://www.mtholyoke.edu/omc/phil-film/index.html. (shrink)

This collective book analyzes seriality as a major phenomenon increasingly connecting audiovisual narratives (cinematic films and television series) in the 20th and 21st centuries. The book historicizes and contextualizes the notion of seriality, combining narratological, aesthetic, industrial, philosophical, and political perspectives, showing how seriality as a paradigm informs media convergence and resides at the core of cinema and television history. By associating theoretical considerations and close readings of specific works, as well as diachronic and synchronic approaches, this volume offers a (...) complex panorama of issues related to seriality including audience engagement, intertextuality and transmediality, cultural legitimacy, authorship, and medium specificity in remakes, adaptations, sequels, and reboots. Written by a team of international scholars, this book highlights a diversity of methodologies that will be of interest to scholars and doctoral students across disciplinary areas such as media studies, film studies, literature, aesthetics, and cultural studies. It will also interest students attending classes on serial audiovisual narratives and will appeal to fans of the series it addresses, such as Fargo, Twin Peaks, The Hunger Games, Bates Motel, and Sherlock. (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

pt. II. Observation and recall as a function of age.--pt. III. Fidelity of report as a measure of adult intelligence.--pt. IV. The technique of mental-test surveys among adults.

According to Wittgenstein’s claim that our “seeing a thing as” is strongly dependent on what he calls “world-picture” and vice versa, motion pictures present “surveyable repres- entations” of our world-picture and therefore influence the way we see the world. Insofar as understanding means to see coherences, motion pictures help humans understand world-pictures. But the insights imparted by motion pictures are not of a mere cognitive kind, since motion pictures do not present arguments. By making (...) use of imaginative identification they have such an impact on humans that they directly “embody” insights and thereby changing what is accepted as knowledge within a world-picture. (shrink)

This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new (...) insights into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. (shrink)

A COMPANION TO MOTION PICTURES AND PUBLIC VALUE A Companion to Motion Pictures and Public Value brings together original essays by world-renowned scholars investigating the varied intersections of the moving image and the public good. Covering a wide range of types and genres of cinema, this unprecedented volume explores the past, present, and possible future contributions of motion pictures to public value. With a cross-disciplinary approach, the text presents original conceptual work, global perspectives, philosophical arguments, historical discussion, (...) empirical research, and specific case studies of the direct and indirect public value developed through motion pictures. Organized into seven thematic sections, this Companion identifies and discusses the various kinds of values that motion pictures can deliver, including artistic and aesthetic, ethical and moral, spiritual and religious, cultural, environmental, political, and cognitive. Throughout the text, readers are provided with deep insight into the issue of public value as it relates to cinema and its positive impact on human life and society. A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: _ _ Philosophy of Literature_: Contemporary and Classic Readings_ _Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 _ Philosophy of Film and Motion Pictures_: An Anthology _Edited by No ë l Carroll and Jinhee Choi ISBN: 9781405120272.

Emotions play at least three key roles in cinema. First, many motion pictures present highly emotional situations, involving characters who fall in love, who endure unbearable loss, and who become hell-bent on revenge. To make sense of movies, we must identify the emotions that drive their characters. Second, motion pictures seem to arouse emotions. We go to tearjerkers that make us cry, splatter films that make us writhe, and action films that keep us at the edges of our (...) seats. Third, these emotional experiences are, ostensibly, part of cinema’s allure; we value movies that evoke strong feelings. One might summarize these three observations by saying that movie-going involves emotion attribution, arousal, and motivation. Each of these has been a domain of philosophical contestation. How are emotions attributed when experiencing a cinematic fiction? Are genuine emotions really aroused? And do emotional experiences really bring us to the box office? This discussion explores controversies along these three dimensions. (shrink)

Book review of _The Philosophy of Motion Pictures_ by Noël Carroll.

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary (...) value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

Reviews the book, From soul to mind: The emergence of psychology, from Erasmus Darwin to William James by Edward S. Reed . Seeking to tell "a new story about the development of psychology," this lively and well-written history of psychology begins with the "realization that we do not actually know what constituted psychology in the eighteenth and nineteenth centuries" . Reed argues that because most historians of psychology devote the bulk of their attention to the work of theorists rather than (...) experimentalists, seldom examined the history and origins of ideas concerning what should and should not be counted as psychology, and pretty much refused to discuss ideas that were later proven to be mistaken, they have produced an overly narrow and fable-like picture of the early history of the discipline. In an attempt to remedy this on-going error in the historiography of psychology, Dr. Reed urges us to examine the historical, literary, and cultural context of the eighteenth and nineteenth centuries that gave birth to the development of the career of "being a psychologist." 2012 APA, all rights reserved). (shrink)