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Ted Nannicelli
University of Queensland
  1.  23
    Moderate Comic Immoralism and the Genetic Approach to the Ethical Criticism of Art.Ted Nannicelli - 2014 - 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.  10
    Ethical Criticism and the Interpretation of Art.Ted Nannicelli - 2017 - Journal of Aesthetics and Art Criticism 75 (4):401-413.
    This article brings together two prominent topics in the literature over the past few decades—the ethical criticism of art and art interpretation. The article argues that debates about the ethical criticism of art have not acknowledged the fact that they are tacitly underpinned by a number of assumptions about art interpretation. I argue that the picture of interpretation that emerges from the analysis of these assumptions is best captured by moderate actual intentionalism. Reflection upon the nature of ethical criticism, I (...)
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  3.  2
    Animals, Ethics, and the Art World.Ted Nannicelli - 2018 - October 164:113-132.
    This paper argues that debates over art exhibitions that make use of live animals, such as the Guggenheim Museum's 2017 Art and China After 1989: Theater of the World, are reflective of a schism between two general approaches to the ethico-political criticism of art. One of these approaches, the interpretation-oriented approach, is dominant in the art world and its adjacent institutions. The other, the production-oriented approach, is tacitly adopted by art-interested non-specialists. This rift explains why the use of animals in (...)
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  4.  9
    Ontology, Intentionality, and Television Aesthetics.Ted Nannicelli - 2012 - 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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  5.  30
    Hollywood Incoherent. [REVIEW]Ted Nannicelli - 2012 - British Journal of Aesthetics 52 (3):317-320.
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  6.  25
    Instructions and Artworks: Musical Scores, Theatrical Scripts, Architectural Plans, and Screenplays.Ted Nannicelli - 2011 - 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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  7.  20
    New Takes in Film-Philosophy Edited by Carel, Havi and Greg Tuck. [REVIEW]Ted Nannicelli - 2012 - Journal of Aesthetics and Art Criticism 70 (3):326-328.
  8.  18
    Why Can't Screenplays Be Artworks?Ted Nannicelli - 2011 - Journal of Aesthetics and Art Criticism 69 (4):405-414.
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  9.  5
    In Defence of the Objectivity of Evaluative Television Criticism.Ted Nannicelli - 2016 - Screen 57 (2):124-143.
    The prevailing view in television studies is that evaluative criticism involves the expression of wholly subjective tastes or attitudes. Moreover, the idea that evaluative judgements could be in any way objective or truthful tends to be greeted with deep scepticism and suspicion. This essay argues that the prevailing view – ‘expressivism’ – is unsatisfactory and unsustainable, and it advances a moderate version of objectivism.
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  10.  2
    Instances of Cinema.Ted Nannicelli - 2017 - Projections-The Journal for Movies and Mind 11 (1):1-15.
    This article sketches a commonplace yet neglected epistemic puzzle raised by the diversity of our film-viewing practices. Because our appreciative practices allow for variability in the " instances " of cinematic works we engage, many of our experiential encounters with those works are flawed or impoverished in a number of ways. The article outlines a number of ways in which instances of cinema can vary – including, for example, in terms of color, score, and aspect ratio. This variability of instances (...)
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  11.  8
    The Routledge Companion to Philosophy and Film. [REVIEW]Ted Nannicelli - 2012 - International Journal of Philosophical Studies 20 (5):763-766.
  12.  33
    A Philosophy of the Screenplay.Ted Nannicelli - 2012 - 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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  13.  4
    A Philosophy of the Screenplay.Ted Nannicelli - 2016 - 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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  14.  8
    Appreciating the Art of Television: A Philosophical Approach.Ted Nannicelli - 2017 - New York, NY, USA: Routledge.
    Contemporary television has been marked by such exceptional programming that it is now common to hear claims that TV has finally become an art. In Appreciating the Art of Television, Nannicelli contends that televisual art is not a recent development, but has in fact existed for a long time. Yet despite the flourishing of two relevant academic subfields—the philosophy of film and television aesthetics—there is little scholarship on television, in general, as an art form. This book aims to provide scholars (...)
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