The anthology of 27 readings is designed to acquaint undergraduate students in both philosophy and film departments with the issues and controversies that constitute the philosophy of film, a field that has blossomed only in the past two decades. The themes are whether film theory is necessary, what the nature of film is, whether films have authors, how films engage emotions, whether films must have narrators, whether they can be socially critical, and what can be learned from films. Annotation ©2004 Book News, Inc., Portland, OR
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About the Author
Thomas E. Wartenberg is Professor of Philosophy at MountHolyoke College, researching the intersection between philosophyand culture. A former Fulbright Research Fellow and a NationalEndowment for the Humanities Fellow, he is the author ofUnlikely 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 MarshallCollege in Pennsylvania. Her primary areas of research are ancientGreek philosophy, aesthetics, and philosophy of film. Her work inphilosophy of film includes an essay on tragedy and film horror forDark Thoughts: Philosophical Reflections on Cinematic Horror(2003).
Table of Contents
Part I: Do We Need Film Theory?.
1. Prospects for Film Theory (Noël Carroll).
2. Can Scientific Models of Theorizing Help Film Theory (MalcolmTurvey).
3. Philosophy of Film as the Creation of Concepts (GillesDeleuze).
Part II: What Is the Nature of Film?.
4. Defining the Photoplay (Hugo Munsterberg).
5. The Artistry of Silent Film (Rudolph Arnheim).
6. Cinematic Realism (Andre Bazin).
7. Film, Photography, and Transparency (Kendall L. Walton).
8. Non-fictional Cinematic Artworks and Knowledge (TrevorPonech).
Part III: Do Films Have Authors?.
9. La Politique des Auteurs (François Truffaut).
10. Auteur Theory and Film Evaluation (AndrewSarris).
11. The Idea of Film Criticism (Pauline Kael).
12. Against Authorship (Stephen Heath).
13. DVD’s and the Director’s Intentions (DeborahParker and Mark Parker).
Part IV: How Do Films Engage Our Emotions?.
14. Narrative Desire (Gregory Currie).
15. Spectator Emotion and Ideological Film Criticismm (CarlPlantinga).
16. Engaging Characters (Murray Smith).
17. The Paradox of Horror (Noël Carroll).
Part V: Must Films Have Narrators?.
18. Principles of Film Narration (David Bordwell).
19. The Cinematic Narrator (Seymour Chatman).
20. Narration as Showing (George M. Wilson).
Part VI: Can Films Be Socially Critical?.
21. The Politics of Representation (Michael Ryan and DouglasKellner).
22. But Would You Want Your Daughter To Marry One? Politics andRace in Guess Who’s Coming To Dinner (Thomas E.Wartenberg).
23. Stella at the Movies: Critical Spectatorship and Melodramain Stella Dallas (Angela Curren).
Part VII: What Can We Learn From Films?.
24. Knowledge as Transgression: It Happened One Night(Stanley Cavell).
25. Realist Horror (Cynthia A. Freeland).
26. Philosophy Screened: Viewing The Matrix (Thomas E.Wartenberg).
27. Virtue and Happiness in Groundhog Day (JosephKupfer).
Suggestions for Further Reading.