David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jonathan Jenkins Ichikawa
Jack Alan Reynolds
Learn more about PhilPapers
Cambridge University Press (1995)
This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion over the last twenty years. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticises attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal.
|Keywords||Motion pictures Philosophy|
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|Call number||PN1995.C795 1995|
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Florian Cova, Amanda Garcia & Shen-yi Liao (2015). Experimental Philosophy of Aesthetics. Philosophy Compass 10 (12):927-939.
Anjan Chakravatty (2010). Informational Versus Functional Theories of Scientific Representation. Synthese 172 (2):197 - 213.
Ben Blumson (2012). Mental Maps. Philosophy and Phenomenological Research 85 (2):413-434.
Robert Hopkins (2012). Factive Pictorial Experience: What's Special About Photographs? Noûs 46 (4):709-731.
Dustin Stokes (2009). Aesthetics and Cognitive Science. Philosophy Compass 4 (5):715-733.
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