Film-Philosophy 18 (1):128-146 (2014)

Abstract
Stanley Cavell's The World Viewed was the first book on cinema to attempt to provide an ontological theorisation of film that could account not only for its popular instances and the reason why they enthralled audiences for over half a century but also for the demise of its mythic function and the possibility of its redemption in serious modernist film. Inadequately understood at the time of its publication, and for too long ignored by Film Studies, Cavell's arguments about modernist cinema all but disappeared in the wake of the rise of postmodern theory. Yet the crisis of belief that confronted modern arts, condemned them to the production of serious works, and eventually unsettled the privileged place of mainstream cinema in twentieth century liberal democracies, still laps at our feet. This essay follows on the back of Kathleen Kelley's recent essay on Cavell, Greenberg, Bazin and medium specificity in film and Robert Sinnerbrink's work aligning Cavell’s understanding of cinema as 'a moving image of skepticism' with the project of thinking philosophically about film. It aims to continue to unpack the idea of automatism as it is conceived by Cavell to operate in film and to argue, along with Kelley and Sinnerbrink, for its importance for understanding the conviction of serious films
Keywords Deleuze  Cavell  Rancière  Automatism
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DOI 10.3366/film.2014.0009
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The World Viewed: Reflections on the Ontology of Film.Timothy Corrigan - 1980 - Journal of Aesthetics and Art Criticism 39 (1):104-105.

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Cavell on Film.Stanley Cavell - 2005 - State University of New York Press.
Contending with Stanley Cavell.Stanley Cavell & Russell B. Goodman (eds.) - 2005 - Oxford University Press.
Cavell on Film, Television, and Opera.William Rothman - 2003 - In Richard Thomas Eldridge (ed.), Stanley Cavell. Cambridge University Press. pp. 206--238.
Stanley Cavell and Literary Skepticism.Michael Fischer - 1989 - University of Chicago Press.

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