David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
Revue Internationale de Philosophie 4:487-509 (2010)
It is commonly held, even among non-Bazinians, that photographs are typically perceived as more objective than other forms of depiction. The implications of this putative feature of photographic reception for the fiction film have been relatively ignored. If photos do have an objective purport, it would explain the power of a common device used in horror movies where a monster is selectively revealed through a degraded image, usually an amateur video recording. However, I argue that a better explanation is forthcoming. It is not the objective purport of photographs that accounts for the peculiar power of these scenes, but the power of our imaginations to picture monsters far more terrifying than those that can be readily depicted. This gives us reason to be skeptical of the idea that the objective purport of photographs contributes significantly to the reception of fiction films.
|Keywords||photography objectivity Lovecraft horror transparency|
|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
Jiri Benovsky (2011). Three Kinds of Realism About Photographs. Journal of Speculative Philosophy 25 (4):375-395.
Robert Hopkins (2012). Factive Pictorial Experience: What's Special About Photographs? Noûs 46 (4):709-731.
Aaron Meskin & Jonathan Cohen (2008). Photographs as Evidence. In Scott Walden (ed.), Photography and Philosophy: Essays on the Pencil of Nature. Blackwell.
Michael Grant (2003). Philosophical (Horror) Investigations: On the Question of the Horror Film. In Steven Jay Schneider & Daniel Shaw (eds.), Dark Thoughts: Philosophic Reflections on Cinematic Horror. Scarecrow Press.
Thomas Richard Fahy (ed.) (2010). The Philosophy of Horror. University Press of Kentucky.
Dominic McIver Lopes (2003). The Aesthetics of Photographic Transparency. Mind 112 (447):434--48.
Jonathan Cohen & Aaron Meskin (2004). On the Epistemic Value of Photographs. Journal of Aesthetics and Art Criticism 62 (2):197–210.
Mikael Pettersson (2011). Depictive Traces: On the Phenomenology of Photography. Journal of Aesthetics and Art Criticism 69 (2):185-196.
Added to index2009-12-01
Total downloads265 ( #1,928 of 1,413,435 )
Recent downloads (6 months)5 ( #41,957 of 1,413,435 )
How can I increase my downloads?