British Journal of Aesthetics 58 (3):225-239 (2018)

Authors
Rafe McGregor
Edge Hill University
Abstract
The purpose of this paper is to defend a particular kind of cinematic realism, anti-illusionism, which is the thesis that cinematic motion is real. Following a brief introduction to realism and cinema in Section 1, I analyse Berys Gaut’s taxonomy of cinematic realism and define anti-illusionism in Section 2. Section 3 contrasts the anti-illusionist theories of Gregory Currie and Trevor Ponech with the illusionist theories of Andrew Kania and Gaut. I reconceptualize the debate in terms of Tom Gunning’s cinematic animation in Section 4, focusing on the question of cinematic singletons. In Section 5 I argue that cinematic singletons both exist and undergo objective displacement—and thus for anti-illusionism. I conclude, in Sections 6–7, with responses to potential objections to my argument from Kania and Gaut.
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DOI 10.1093/aesthj/ayy022
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References found in this work BETA

Photography and Representation.Roger Scruton - 1981 - Critical Inquiry 7 (3):577-603.
Silent Music.Andrew Kania - 2010 - Journal of Aesthetics and Art Criticism 68 (4):343-353.
Cinematic Realism Reconsidered.Rafe Mcgregor - 2012 - Polish Journal of Philosophy 6 (1):57-68.
External Realism About Cinematic Motion.Trevor Ponech - 2006 - British Journal of Aesthetics 46 (4):349-368.
Film, Reality, and Illusion.Gregory Currie - 1996 - In David Bordwell Noel Carroll (ed.), Post-Theory: Reconstructing Film Studies. University of Wisconsin Press. pp. 325--44.

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