By Katherine Thomson-Jones
This quantity advances the modern debate on 5 critical matters within the philosophy of movie. those matters situation the relation among the paintings and know-how of movie, the character of movie realism, how narrative fiction movies narrate, how we interact emotionally with motion pictures, and no matter if movies can philosophize. new essays via prime figures within the box current diversified perspectives on every one factor. The paired essays comprise major issues of either contract and confrontation; new theories and frameworks are proposed even as authors evaluation the present kingdom of dialogue. Given their mix of richness and readability, the essays during this quantity can successfully interact either scholars, undergraduate or graduate, and educational researchers.
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Additional info for Current Controversies in Philosophy of Film
As George Basalla, a historian of technology, notes, technology is vastly older than science (Basalla 1998: 27). The most ancient technology known to us consists of stone hand axes, the oldest, Oldowan hand axes, dating from about two and a half million years ago; these may have been made by australopiths rather than members of our own genus, Homo (Boyd and Silk 2015: 269). They far predate scientific knowledge; so science-based technology is only one kind of technology, and until the latter part of the nineteenth century most technology was a kind of craftknowledge.
Part IV: How Do Films Engage Our Emotions? The issues of narration and realism in film are intimately bound up with the fourth issue in our volume, concerning emotional engagement. Films are often thought to be particularly affecting because of their realism. And choices over how to convey story events are often explained by the filmmakers’ attempt to create certain emotional effects—for example, suspense. Compared with other art forms, particularly with other representational art forms, it is frequently observed just how easily and how powerfully we are moved by films.
Carroll offers a series of considerations for “resisting” the ubiquity of implicit cinematic narrators, both on the basis of the seeing/showing argument and on the basis of the “ontological gap” argument, which relies on the assertoric power of a fictional narrator to make things true in the fiction. Interestingly, Carroll’s main objection to the seeing/showing argument seems to invoke the reverse of Curran’s principle of indeterminacy in fiction: Precisely because the implicit cinematic narrator is implicit, questions reasonably arise about the precise nature and mode of operation of such an agency.