David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
Contemporary Aesthetics 1:1-3 (2003)
I argue that Dilworth has not shown the type / token theory of film identity to be non-viable, since there is no reason to think that a single object cannot be a token of two types. Even if we assume a single inheritance view of types, Dilworth's argument runs into other problems. Dilworth does not provide any convincing argument as to why intentions are necessary for identifying film and why production history alone will not suffice for identifying hardly conceivable forgeries. Intention is not necessary for distinguishing between fakes and the real thing, nor is it necessary to differentiate between two artworks with the same token. Moreover, taking the notion of intentions into consideration leads to a splintering problem. I propose that production history, presentation, and non-numerical template identity suffice to identify a film on a multiple inheritance type / token theory.
|Keywords||film ontology type / token artworks art and intention|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
John Dilworth (2003). Ariadne at the Movies. Contemporary Aesthetics 1 (1).
Nancy D. Cartwright (1979). Do Token-Token Identity Theories Show Why We Don't Need Reductionism? Philosophical Studies 36 (July):85-90.
John Dilworth (2003). Pictorial Orientation Matters. British Journal of Aesthetics 43 (1):39-56.
John Dilworth (2003). A Refutation of Goodman's Type-Token Theory of Notation. Dialectica 57 (3):330–336.
Marcus Rossberg (2013). Destroying Artworks. In Christy Mag Uidhir (ed.), Art & Abstract Objects. Oxford University Press.
Russell J. A. Kilbourn (2010). Cinema, Memory, Modernity: The Representation of Memory From the Art Film to Transnational Cinema. Routledge.
Linda Wetzel, Types and Tokens. Stanford Encyclopedia of Philosophy.
A. C. Genova (2007). Externalism and Token-Identity. Southern Journal of Philosophy 45 (2):223-249.
I. C. Jarvie (1987). Philosophy of the Film: Epistemology, Ontology, Aesthetics. Routledge & Kegan Paul.
Ori Simchen (2013). Token-Reflexivity. Journal of Philosophy 110 (4):173-193.
Jesse Prinz (2011). When is Film Art? Revue Internationale de Philosophie 4:473-485.
Shawn Loht (2013). Film as Heideggerian Art? A Reassessment of Heidegger, Film, and His Connection to Terrence Malick. Film and Philosophy 17:113-36.
Michael Pauen (2002). Is Type Identity Incompatible with Multiple Realization? Grazer Philosophische Studien 65 (1):37-49.
Elspeth Kydd (2011). The Critical Practice of Film: An Introduction. Palgrave Macmillan.
Added to index2011-01-04
Total downloads4 ( #272,517 of 1,140,267 )
Recent downloads (6 months)2 ( #86,093 of 1,140,267 )
How can I increase my downloads?