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The Philosophy of Film
Introductory Text and Readings
Thomas E. Wartenberg (Edited by), TE Wartenberg (Author), Angela Curran (Edited by)
9781405114424, Wiley
Paperback / softback, published 15 December 2004
320 pages
24.6 x 17 x 1.8 cm, 0.558 kg
“Congratulations to Wartenberg and Curran for their terrific anthology. Uniting key works in film theory, criticism, and philosophy, this much-needed text has excellent sections on core topics.” Deborah Knight, Queen’s University at Kingston “The Philosophy of Film presents a judicious selection of influential writings on the philosophy of film from across the spectrum of current opinion, though weighted toward the increasingly dominant cognitivist paradigm of film experience. The introductory and pedagogic material provided by the editors is uniformly helpful.” “Bringing together important writings by prominent philosophers and film theorists, this volume of readings with useful editorial commentary will prove a valuable resource for students of the philosophy of film.” Berys Gaut, University of St Andrews
Jerrold Levinson, University of Maryland, and Past President, American Society for Aesthetics
Organized around a series of philosophic questions about film, The Philosophy of Film: Introductory Text and Readings offers an accessible and engaging overview of the discipline. More information about this text along with further resources are available from the accompanying website at: http://www.mtholyoke.edu/omc/phil-film/index.html
Acknowledgments viii General Introduction 1 Part I: Do We Need Film Theory? 5 1 Prospects for Film Theory: A Personal Assessment 11 2 Can Scientific Models of Theorizing Help Film Theory? 21 3 Philosophy of Film as the Creation of Concepts 33 Part II: What Is the Nature of Film? 39 4 Defining the Photoplay 43 5 The Artistry of Silent Film 50 6 Cinematic Realism 59 7 Film, Photography, and Transparency 70 8 Non-fictional Cinematic Artworks and Knowledge 77 Part III: Do Films Have Authors? 91 9 La Politique des Auteurs 95 10 Auteur Theory and Film Evaluation 99 11 The Idea of Film Criticism 108 12 Against Authorship 118 13 DVDs and the Director’s Intentions 123 Part IV: How Do Films Engage Our Emotions? 133 14 Narrative Desire 139 15 Spectator Emotion and Ideological Film Criticism 148 16 Engaging Characters 160 17 The Paradox of Horror 170 Part V: Must Films Have Narrators? 179 18 Principles of Film Narration 183 19 The Cinematic Narrator 190 20 Narration as Showing 198 Part VI: Can Films Be Socially Critical? 209 21 The Politics of Representation 213 22 But Would You Want Your Daughter To Marry One? Politics and Race in Guess Who’s Coming to Dinner 225 23 Stella at the Movies: Class, Critical Spectatorship, and Melodrama in Stella Dallas 235 Part VII: What Can We Learn From Films? 247 24 Knowledge as Transgression: It Happened One Night 253 25 Realist Horror 260 26 Philosophy Screened: Experiencing The Matrix 270 27 Virtue and Happiness in Groundhog Day 284 Suggestions for Further Reading 295 Index 298
Introduction 5
Study Questions 8
Noël Carroll
Malcolm Turvey
Gilles Deleuze
Introduction 39
Study Questions 41
Hugo Münsterberg
Rudolf Arnheim
André Bazin
Kendall L. Walton
Trevor Ponech
Introduction 91
Study Questions 94
François Truffaut
Andrew Sarris
Pauline Kael
Stephen Heath
Deborah Parker and Mark Parker
Introduction 133
Study Questions 136
Gregory Currie
Carl Plantinga
Murray Smith
Noël Carroll
Introduction 179
Study Questions 181
David Bordwell
Seymour Chatman
George M. Wilson
Introduction 209
Study Questions 212
Michael Ryan and Douglas Kellner
Thomas E. Wartenberg
Angela Curran
Introduction 247
Study Questions 250
Stanley Cavell
Cynthia A. Freeland
Thomas E. Wartenberg
Joseph H. Kupfer
Subject Areas: Philosophy [HP]
