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TitleCurrent Controversies in Philosophy of Film
PublisherRoutledge
CategoryArts - Film
Author
Languagerussian
File Size1.8 MB
Total Pages532
Table of Contents
                            Title
Copyright
Contents
Contributors
Introduction
Part I What Is the Relation between the Art and the Technology of Film?
	1 Cinematic Art and Technology
	2 Movie Appreciation and the Digital Medium
Part II In What Ways Is Film a Realistic Medium?
	3 Imagined Seeing and Some Varieties of Cinematic Realism
	4 Realism in Film (and Other Representations)
Part III How Do Films Work as Narrative Fictions?
	5 Fictional Indeterminacy, Imagined Seeing, and Cinematic Narration
	6 Motion Picture Narration
Part IV How Do Films Engage Our Emotions?
	7 Putting Cognition in Its Place: Affect and the Experience of Narrative Film
	8 Mirror Neurons and Simulation Theory: A Neurophysiological Foundation for Cinematic Empathy
Part V Can Films Philosophize?
	9 Film as Philosophy: The Pro Position
	10 Film, Philosophy, and the Varieties of Artistic Value
Index
                        
Document Text Contents
Page 2

Current Controversies in
Philosophy of Film

Page 266

MacRae) singing “O What a Beautiful Mornin’ ”: Rather
than finding this way of beginning the story stilted or
even absurd, the audience understands that they are not to
imagine anything about why it is that Curly is singing
rather than talking. If this question occurs to them at all,
the answer is found outside their imaginings about the
story world, in the conventions of motion picture musicals
that mandate that characters sing as part of the way the
story is told.

These examples regarding fictional indeterminacy
support a line of reply to the ontological gap argument.
Unless it is explicit in the fiction, questions about how the
audience comes to imagine the story events are not part
of what the audience is mandated to imagine. Indeed, to
pursue such imaginings would be to get taken up in
questions that detract from the audience’s appreciation of
the film fiction.

Friends of the implicit cinematic narrator have a
response. They argue that movies do provide the
sense of getting direct access to a story, as is the case with
philosophical thought experiments. Rather, the use of
camera work, editing, particular lenses, and other aspects
of cinematography gives the impression that there is some
intervening visual medium at work in conveying the

Page 531

and projection 141; self-other differentiation 143; use of heuristics 123

visual effects 194–5

visuality condition 82

Vogler, Elizabeth (character) 140

Wachowski, Andrew 184

Wachowski, Laurence 184

Waking Life (Linklater) 78, 168, 169, 198n1

Walton, Kendall 5, 62, 81, 82, 149, 155, 187

Warhol, Andy 186, 193

Wartenberg, Thomas 11, 185, 193, 198n4, 199n7

Ways of Seeing (Berger) 197, 199n14

Weissmuller, Johnny 58, 60

Welles, Orson 138, 176, 178

Whale, James 122

Wilder, Billy 100, 161

Williams, Bernard 172–4

Wilson, George 5, 84–5, 108, 109–11, 115, 116

Winged Migration (Perrin, Cluzaud, and Debats) 48

Witt, Michael 186

Wittgenstein, Ludwig 70, 74n10

The Wizard of Oz (Fleming) 103

Wollheim, Richard 40, 72, 137

Woman I (de Kooning) 41

Page 532

written texts, as philosophy 167

X-Phi (experimental philosophy) 183

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