P-Consciousness is to be understood in terms of an immediate fluctuating continuum that is a presentation of raw experiential matter against which A-consciousness acts to objectify, impose form or make determinate “thinkable” contents. A representationalises P but P is not itself representational, at least in terms of some concepts of “representation.” Block's arguments fall short of establishing that P is representational and, given the sort of cognitive science assumptions he is working with, he is unable to account for the aspect (...) of phenomenal content that he thinks goes beyond “representational” content. BBS discussion reveals the need for greater analysis and justification for a representationalist thesis of P. (shrink)

The definitive version is available at www.blackwell-synergy.com.

Book reviewed in this article:F.H. Bradley, Collected Works Volumes 1–5.

An anti-realist stance prevalent in philosophy of film, probably less familiar to analytical than continental philosophers, raises issues that are philosophically accessible and engaging. While this anti-realist stance can be historically situated many of its constituent ideas remain influential in contemporary milieus. A common claim of anti-realism is that realist art or cinema, in part by virtue of ‘reification', is inherently ‘non-transformative’. Without rigorously refuting all manifestations of the ‘reification thesis’, key assumptions of anti-realism associated with it are challenged in (...) this paper. An aesthetic and a political-ideological anti-realist thesis are identified and critiqued. Kant’s distinction between ‘aesthetic’ and ‘mechanical art’ provides a basis for defending a form of cinematic realism that vindicates its potential transformative power. The Kantian framework provides a reference point for a comparative analysis of Brecht’s and Lukács’ views on anti-realism versus realism as well as for a favourable reconsideration of Andre Bazin’s cinematic realism. (shrink)