On the Nature of Photographic Realism’ Kendall Walton argues that lack of mental-state involvement in the formation of photographic images is a quality that sets them apart from handmade images such as paintings or sketches. This paper defends and substantially develops this idea. It argues that viewers' knowledge of this objective character of the photographic process provides them with special warrant for the acceptance of first-order perceptual beliefs formed as a result of viewing photographic images. As well, it distinguishes between (...) two different ways in which mental states can be involved in the formation of photographic images, and uses this distinction to ward off the objection that decisions about film type, composition, moment of exposure, etc. undermine the objectivity of the photographic process. (shrink)

In his classic paper ‘Transparent Pictures: On the Nature of Photographic Realism’, Kendall Walton highlights the special sense of contact with their subjects that photographs typically engender and argues that we must postulate photographic transparency in order to explain their capacity to do so. He also downplays the epistemic advantages historically associated with the medium and instead finds the source of our medium-specific appreciation of photographs largely in their transparency. I argue that Walton errs in both these respects. I offer (...) a simpler, deflationary means of explaining the contact phenomenon, one that does not mandate that we see through photographs, and I show how an epistemic advantage associated with the medium can be brought together with this deflationary understanding to yield a two-factor analysis of our experiences in looking at photographs. I conclude with an application of this two-factor approach to an iconic photograph from the modernist canon. (shrink)

Unlike the numerous texts devoted to the subject of Film Theory, this collection contains essays specifically about the art form of Still Photography and the ...

Kendall Walton famously argues that photographic images—in contrast with handmade images—are transparent; we see through them to the persons or objects that were in front of the camera at the moment of exposure. Walton also argues, separately, that our philosophical investigations in the representational arts generally should adopt the methodology of theory construction. This article brings together these two strands of Walton's thought by rendering his argument for photographic transparency in the form of a theory consisting of a perceptual natural (...) kind and an underlying naturally dependent process, the former postulated in order to account for various photographic explananda. The surprising result is that Walton's theory, thus construed, yields at least one prediction that is in conflict with what we observe and that, because of this, he is forced to embellish his theory in ways that render it psychologically implausible and that raise the worry of ad hoc patching up. (shrink)

Many creatures exhibit desires of various strengths competing with one another for the prize of interacting with beliefs to cause behaviour. Harry Frankfurt famously analyzes persons in terms of the ability to form second-order desires; desires that intervene in this economy of first-order desires in ways that sometimes award the prize to weaker competitors. This paper augments Frankfurt’s analysis with Kendall Walton’s understanding of pretence behaviour and then interprets the central metaphors in several films by Terrence Malick in terms of (...) this augmented analysis. The result is an understanding of those films as investigations into personhood and factors that inhibit attempts to manifest it. Along the way, the discussion touches on the relation between linguistic and visual metaphor, the potentially ethical character of art, and the question of whether a valid interpretation must be congruent with the actual communicative intentions of the artist. (shrink)