A Philosophy of Cinematic Art

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  • Edition: 1st
  • Format: Paperback
  • Copyright: 2010-02-08
  • Publisher: Cambridge University Press

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A Philosophy of Cinematic Art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with characters, and the nature of the cinematic medium. Groundbreaking in its coverage of a wide range of contemporary cinematic media, it analyses not only traditional photographic films, but also digital cinema, and a variety of interactive cinematic works, including videogames. Written in a clear and accessible style, the book examines the work of leading film theorists and philosophers of film, and develops a powerful framework with which to think about cinema as an art.

Author Biography

Berys Gaut is Professor of Philosophy at the University of St Andrews. He is the author of Art, Emotion and Ethics (2007) and co-editor of The Creation of Art (2003) and The Routledge Companion to Aesthetics (2nd edn, 2005).

Table of Contents

List of illustrationsp. ix
Prefacep. xi
Introductionp. 1
Film theory and philosophyp. 2
Moving image technologiesp. 6
The challenges to cinema as an artp. 21
The causal challengep. 22
The reproduction challengep. 34
Film and communicationp. 42
Digital cinema as artp. 43
Language and realismp. 51
Film as a languagep. 51
Digital cinema and languagep. 56
Realism: traditional and digital cinemap. 60
Transparency: traditional and digital cinemap. 78
Cinematic authorshipp. 98
Two puzzlesp. 98
Varieties of auteurismp. 99
Minimal auteurismp. 102
Three strategies for single authorshipp. 105
Cinematic utterance and single authorshipp. 118
Ontology and multiple authorshipp. 125
The multiple-authorship view refinedp. 128
Digital cinema and authorshipp. 133
Interactivity and authorshipp. 140
Understanding cinemap. 152
Intentionalismp. 152
Constructivismp. 164
The patchwork theoryp. 180
Digital cinema and interpretationp. 192
Cinematic narrationp. 197
Symmetry or asymmetry?p. 197
The a priori argumentp. 199
Three models of implicit cinematic narratorsp. 202
Absurd imaginings and silly questionsp. 209
Literary narratorsp. 218
Other narrative featuresp. 221
Interactive narrationp. 224
Emotion and identificationp. 244
Emotion and cinemap. 244
The concept of identificationp. 252
Identification and film techniquesp. 263
Identification and emotional learningp. 268
Emotion and interactionp. 272
The role of the mediump. 282
Two tendencies in the philosophy of artp. 282
Medium-specificity claimsp. 286
Evaluating artworksp. 292
Explaining artistic featuresp. 296
Media and art formsp. 300
Conclusionp. 306
Bibliographyp. 308
Indexp. 318
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