Educational Philosophy and Theory 48 (6):622-637 (2016)

Laura D'Olimpio
University of Birmingham
There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a sub-category of Art proper, it is worth re-considering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. T. W. Adorno, for example, critiques film as ‘mass-cult’; mass produced culture which presents a ‘flattened’ version of reality. Adorno worries about the passivity encouraged in viewers. Films are narrative artworks, received by an audience in a context, making the focus on the reception of the work important. The dialogue held between Adorno and Walter Benjamin post-WWII is interesting because, between them, they consider both the possible positive emancipatory and negative politicization effects of film as a mass produced and distributed story-telling medium. Reading Adorno alongside Benjamin is a way to highlight the role of the critical thinker who receives the film. Arguing that the critical thinker is a valuable citizen, this paper focuses on the value of critical thinking in the reception of cinematic artworks. It achieves this by reconsidering Adorno and Benjamin 's theories of mass art.
Keywords Aesthetics  Adorno  Benjamin  Film Theory
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DOI 10.1080/00131857.2014.964161
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References found in this work BETA

The Principles of Art.R. G. Collingwood - 1938 - New York: Oxford University Press.
Prisms.Theodor W. Adorno (ed.) - 1983 - MIT Press.
A Philosophy of Mass Art.Noel Carroll - 1997 - Clarendon Press.
The Principles of Art.R. G. Collingwood - 1938 - Oxford University Press USA.

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