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OverviewWhile 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. Full Product DetailsAuthor: Richard Allen (Associate Professor of Cinema Studies, Associate Professor of Cinema Studies, New York University) , Murray Smith (Lecturer in Film Studies, Lecturer in Film Studies, University of Kent at Canterbury)Publisher: Oxford University Press Imprint: Oxford University Press Edition: New edition Dimensions: Width: 15.50cm , Height: 2.70cm , Length: 23.40cm Weight: 0.682kg ISBN: 9780198159889ISBN 10: 0198159889 Pages: 486 Publication Date: 13 May 1999 Audience: Professional and scholarly , Professional & Vocational Format: Paperback Publisher's Status: Active Availability: To order  Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us. Table of ContentsRichard Allen and Murray Smith: Introduction: Film Theory and Philosophy PART 1 What is Cinematic Representation 1: Gregory Currie: The Film Theory that Never Was: A Nervous Manifesto 2: Kendall L. Walton: On Pictures and Photographs: Objections Answered 3: Richard Allen: Looking at Motion Pictures 4: Edward Branigan: Sound, Epistemology, Film PART 2 Meaning, Authorship, and Intention 5: Paisley Livingston: Cinematic Authorship 6: Berys Gaut: Film Authorship and Collaboration 7: Noel Carroll: Fiction, Non-Fiction, and the Film of Presumptive Assertion: A Conceptual Analysis 8: Trevor Ponech: What is Non-Fiction Cinema? 9: George Wilson: On Film Narrative and Narrative Meaning PART 3 Ideology and Ethics 10: Jennifer Hammett: The Ideological Impediment: Epistemology, Feminism, and Film Theory 11: Hector Rodriguez: Ideology and Film Culture 12: Tommy Lott: Aesthetics and Politics in Contemporary Black Film Theory PART 4 Aesthetics 13: Peter Kivy: Music in the Movies: A Philosophical Enquiry 14: Flo Leibowitz: Personal Agency Theories of Expressiveness and the Movies 15: Deborah Knight: Aristotelians on Speed: Paradoxes of Genre in the Context of Cinema PART 5 Emotional Response 16: Carl Plantinga: Notes on Spectator Emotion and Ideological Film Criticism 17: Dirk Eitzen: Comedy and Criticism 18: Murray Smith: Imagining from the Inside: POV, Imagining Seeing, and Empathy 19: Malcolm Turvey: Seeing Theory: On Perception and Emotional Response in Current Film Theory Select Bibliography IndexReviews`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.' Trevor Whittock, Brit Jrnl of Aesthetics, Vol 39, no 3, 1999 `Admirably edited by Allen and Smith, who contribute an excellent introductory chapter summing up the argument against the continentals ...' W. A. Vincent, Michigan State University, CHOICE sept 98, vol 36, no 2 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. Trevor Whittock, Brit Jrnl of Aesthetics, Vol 39, no 3, 1999 Admirably edited by Allen and Smith, who contribute an excellent introductory chapter summing up the argument against the continentals ... W. A. Vincent, Michigan State University, CHOICE sept 98, vol 36, no 2 Author InformationRichard Allen is Associate Professor of Cinema Studies, New York University Murray Smith is Lecturer in Film Studies at the University of Kent at Canterbury Tab Content 6Author Website:Countries AvailableAll regions |
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