The Philosophy of Film: Introductory Text and Readings / Edition 1

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"The Philosophy of Film draws readings from philosophy, film studies, and film criticism. Organized around a series of philosophic questions about film, it offers an accessible and engaging overview of the discipline. Readings from contrasting angles and points of view discuss the value of film theory, the nature of film narration, the debate on whether films can be socially critical, and the question of what we can learn from film." Offering clear and helpful section introductions and thought-provoking reading questions, this book is the ideal primary textbook for undergraduate courses on the philosophy of film or philosophically oriented courses in film theory.
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Editorial Reviews

From the Publisher
“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.”
Jerrold Levinson, University of Maryland, and Past President, American Society for Aesthetics

“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

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Product Details

  • ISBN-13: 9781405114417
  • Publisher: Wiley
  • Publication date: 2/21/2005
  • Edition number: 1
  • Pages: 320
  • Product dimensions: 6.90 (w) x 10.00 (h) x 0.92 (d)

Meet the Author

Thomas E. Wartenberg is Professor of Philosophy at Mount Holyoke College, researching the intersection between philosophy and culture. A former Fulbright Research Fellow and a National Endowment for the Humanities Fellow, he is the author of Unlikely Couples: Movie Romance as Social Criticism (1999). His other publications include The Nature of Art (ed., 2002) and Philosophy and Film (co-ed., 1995).

Angela Curran teaches philosophy at Franklin and Marshall College in Pennsylvania. Her primary areas of research are ancient Greek philosophy, aesthetics, and philosophy of film. Her work in philosophy of film includes an essay on tragedy and film horror for Dark Thoughts: Philosophical Reflections on Cinematic Horror (2003).

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Table of Contents

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
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
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
14 Narrative desire 139
15 Spectator emotion and ideological film criticism 148
16 Engaging characters 160
17 The paradox of horror 170
18 Principles of film narration 183
19 The cinematic narrator 190
20 Narration as showing 198
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
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
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