{"product_id":"philosophy-of-film-and-motion-pictures-9781405120265","title":"Philosophy of Film and Motion Pictures","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eDesigned for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. .\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e“While theoretically inclined film scholars continue to recycle the theories of Lacan and Deleuze, analytical philosophers have quietly assumed the leading edge of film theory. This judicious collection of essays, framed by thoughtful commentaries, provides an ideal introduction to the field of analytic film theory for students of philosophy and film alike.” \u003ci\u003eRichard Allen, New York University\u003c\/i\u003e\u003cbr\u003e \u003cp\u003e\u003cbr\u003e \u003c\/p\u003e \u003cp\u003e“The philosophy of film and motion pictures has flourished in the last forty years or so, and Carroll and Choi’s anthology offers a marvelous overview of the chief issues. This volume assembles many of the best contributions by contemporary philosophers, and will serve as an excellent textbook in relevant courses. I expect it will also be an important stimulus to further research.” \u003ci\u003eGeorge Wilson, University of Southern California\u003c\/i\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eAcknowledgments viii\u003c\/p\u003e \u003cp\u003eGeneral Introduction 1\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I Film as Art 5\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 7\u003c\/p\u003e \u003cp\u003e1 Photography and Representation 19\u003cbr\u003e\u003ci\u003eRoger Scruton\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2 The Aesthetics of Photographic Transparency 35\u003cbr\u003e\u003ci\u003eDominic McIver Lopes\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3 Everybody Gets a Cut: DVDs Give Viewers Dozens of Choices -- and that's the Problem 44\u003cbr\u003e\u003ci\u003eTerrence Rafferty\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II What Is Film? 49\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 51\u003c\/p\u003e \u003cp\u003e4 The World Viewed 67\u003cbr\u003e\u003ci\u003eStanley Cavell\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5 A Note on the Film 79\u003cbr\u003e\u003ci\u003eSusanne K. Langer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6 Vision and Dream in the Cinema 82\u003cbr\u003e\u003ci\u003eF. E. Sparshott\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e7 The Long Goodbye: The Imaginary Language of Film 91\u003cbr\u003e\u003ci\u003eGregory Currie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e8 Moving Pictures 100\u003cbr\u003e\u003ci\u003eArthur C. Danto\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e9 Defining the Moving Image 113\u003cbr\u003e\u003ci\u003eNoël Carroll\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III Documentary 135\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 137\u003c\/p\u003e \u003cp\u003e10 Visible Traces: Documentary and the Contents of Photographs 141\u003cbr\u003e\u003ci\u003eGregory Currie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e11 Fiction, Non-Fiction, and the Film of Presumptive Assertion: A Conceptual Analysis 154\u003cbr\u003e\u003ci\u003eNoël Carroll\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV Film Narrative\/Narration 173\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 175\u003c\/p\u003e \u003cp\u003e12 Le Grand Imagier Steps Out: The Primitive Basis of Film Narration 185\u003cbr\u003e\u003ci\u003eGeorge M. Wilson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e13 Unreliability Refigured: Narrative in Literature and Film 200\u003cbr\u003e\u003ci\u003eGregory Currie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V Film and Emotion 211\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 213\u003c\/p\u003e \u003cp\u003e14 Film, Emotion, and Genre 217\u003cbr\u003e\u003ci\u003eNoël Carroll\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e15 Fearing Fictions 234\u003cbr\u003e\u003ci\u003eKendall Walton\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e16 Empathy and (Film) Fiction 247\u003cbr\u003e\u003ci\u003eAlex Neill\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e17 Identification and Emotion in Narrative Film 260\u003cbr\u003e\u003ci\u003eBerys Gaut\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e18 In Fictional Shoes: Mental Simulation and Fiction 271\u003cbr\u003e\u003ci\u003eDeborah Knight\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI Topics in Film Criticism 281\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 283\u003c\/p\u003e \u003cp\u003e19 Morals for Method 287\u003cbr\u003e\u003ci\u003eGeorge M. Wilson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e20 Cinematic Authorship 299\u003cbr\u003e\u003ci\u003ePaisley Livingston\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e21 National Cinema, the Very Idea 310\u003cbr\u003e\u003ci\u003eJinhee Choi\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VII Film and Ethics 321\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 323\u003c\/p\u003e \u003cp\u003e22 Film Criticism and Virtue Theory 335\u003cbr\u003e\u003ci\u003eJoseph H. Kupfer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e23 Beauty and Evil: The Case of Leni Riefenstahl's Triumph of the Will 347\u003cbr\u003e\u003ci\u003eMary Devereaux\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e24 A First Look at the Pornography\/Civil Rights Ordinance: Could Pornography Be the Subordination of Women? 362\u003cbr\u003e\u003ci\u003eMelinda Vadas\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VIII Film and Knowledge 379\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 381\u003c\/p\u003e \u003cp\u003e25 The Philosophical Limits of Film 387\u003cbr\u003e\u003ci\u003eBruce Russell\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e26 Minerva in the Movies: Relations Between Philosophy and Film 391\u003cbr\u003e\u003ci\u003eKaren Hanson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e27 Motion Pictures as a Philosophical Resource 397\u003cbr\u003e\u003ci\u003eLester H. Hunt\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eSelect Bibliography by Jinhee Choi 407\u003c\/p\u003e \u003cp\u003eIndex 415\u003c\/p\u003e","brand":"John Wiley and Sons Ltd","offers":[{"title":"Default Title","offer_id":49407858049367,"sku":"9781405120265","price":81.65,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781405120265.jpg?v=1730500759","url":"https:\/\/bookcurl.com\/products\/philosophy-of-film-and-motion-pictures-9781405120265","provider":"Book Curl","version":"1.0","type":"link"}