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Profile: Ted Nannicelli (University of Queensland)
  1.  7
    Ted Nannicelli (2014). Moderate Comic Immoralism and the Genetic Approach to the Ethical Criticism of Art. Journal of Aesthetics and Art Criticism 72 (2):169-179.
    According to comic moralism, moral flaws make comic works less funny or not funny at all. In contrast, comic immoralism is the view that moral flaws make comic works funnier. In this article, I argue for a moderate version of comic immoralism. I claim that, sometimes, comic works are funny partly in virtue of their moral flaws. I argue for this claim—and artistic immoralism more generally—by identifying artistically valuable moral flaws in relevant actions undertaken in the creation of those works. (...)
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  2.  28
    Ted Nannicelli (2012). Hollywood Incoherent. [REVIEW] British Journal of Aesthetics 52 (3):317-320.
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  3.  17
    Ted Nannicelli (2012). New Takes in Film-Philosophy Edited by Carel, Havi and Greg Tuck. [REVIEW] Journal of Aesthetics and Art Criticism 70 (3):326-328.
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  4.  20
    Ted Nannicelli (2011). Instructions and Artworks: Musical Scores, Theatrical Scripts, Architectural Plans, and Screenplays. British Journal of Aesthetics 51 (4):399-414.
    This essay offers an account of the relationship between screenplay and film, and it does so by comparing this relationship to the relationships that hold between other sets of instructions and artworks: score and musical work, theatrical script and theatrical work, architectural plan and architectural work. I argue that musical scores and theatrical scripts are work-determinative documents—manuscripts whose existence entails the existence of musical works and theatrical works, respectively, and which determine the facts about what those works are like. On (...)
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  5.  15
    Ted Nannicelli (2011). Why Can't Screenplays Be Artworks? Journal of Aesthetics and Art Criticism 69 (4):405-414.
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  6.  3
    Ted Nannicelli (2012). The Routledge Companion to Philosophy and Film. [REVIEW] International Journal of Philosophical Studies 20 (5):763-766.
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  7.  22
    Ted Nannicelli (2012). A Philosophy of the Screenplay. Routledge.
    To this end, this volume addresses the fundamental philosophical questions about the nature of the screenplay: What is a screenplay? Is the screenplay art—more specifically, literature? What kind of a thing is a screenplay?
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  8. Ted Nannicelli (2012). A Philosophy of the Screenplay. Routledge.
    Recently, scholars in a variety of disciplines—including philosophy, film and media studies, and literary studies—have become interested in the aesthetics, definition, and ontology of the screenplay. To this end, this volume addresses the fundamental philosophical questions about the nature of the screenplay: What is a screenplay? Is the screenplay art—more specifically, literature? What kind of a thing is a screenplay? Nannicelli argues that the screenplay is a kind of artefact; as such, its boundaries are determined collectively by screenwriters, and its (...)
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  9. Ted Nannicelli (2016). A Philosophy of the Screenplay. Routledge.
    Recently, scholars in a variety of disciplines—including philosophy, film and media studies, and literary studies—have become interested in the aesthetics, definition, and ontology of the screenplay. To this end, this volume addresses the fundamental philosophical questions about the nature of the screenplay: What is a screenplay? Is the screenplay art—more specifically, literature? What kind of a thing is a screenplay? Nannicelli argues that the screenplay is a kind of artefact; as such, its boundaries are determined collectively by screenwriters, and its (...)
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  10. Ted Nannicelli (2012). Ontology, Intentionality, and Television Aesthetics. Screen 53 (2):164-179.
    This essay suggests that television aesthetics, as a research project, would benefit from attending to relevant theoretical debates in philosophical aesthetics. One reason for this is that assumptions about the ontology of television artworks are already embedded in our critical practices. We ought to be more aware of what these assumptions are and state them more explicitly. Moreover, I argue, for debates in television aesthetics to get off the ground, we need to ensure we bring the largely the same ontological (...)
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