A philosophy of cinematic art / Berys Gaut.

By:

Gaut, Berys Nigel

Material type: Text

TextPublication details: Cambridge ; New York : Cambridge University Press, c2010.Description: xiii, 324 p. : ill. ; 23 cmISBN:

0521529646 (pbk.)
9780521529648 (pbk.)

Subject(s):

DDC classification:

791.43 GAU

Contents:

1. The challenges to cinema as an art -- 2. Language and realism -- 3. Cinematic authorship -- 4. Understanding cinema -- 5. Cinematic narration -- 6. Emotion and identification -- 7. The role of the medium.

Review: A Philosophy of cinematic art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with characters, and the nature of the cinematic medium. Groundbreaking in its coverage of a wide range of contemporary cinematic media, it analyses not only traditional photographic films, but also digital cinema, and a variety of interactive cinematic works, including videogames, written in a clear and accessible style, the book examines the work of leading film theorists and philosophers of film, and develops a powerful framework with which to think about cinema as an art.--BOOK JACKET.

Holdings
Item type	Current library	Call number	Copy number	Status	Date due	Barcode
Standard Loan	LSAD Library Main Collection	791.43 GAU (Browse shelf(Opens below))	1	Checked out	05/11/2021	39002100424077

Enhanced descriptions from Syndetics:

A Philosophy of Cinematic Art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with characters, and the nature of the cinematic medium. Groundbreaking in its coverage of a wide range of contemporary cinematic media, it analyses not only traditional photographic films, but also digital cinema, and a variety of interactive cinematic works, including videogames. Written in a clear and accessible style, the book examines the work of leading film theorists and philosophers of film, and develops a powerful framework with which to think about cinema as an art.

Includes bibliographical references (p. 308-317) and index.

A Philosophy of cinematic art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with characters, and the nature of the cinematic medium. Groundbreaking in its coverage of a wide range of contemporary cinematic media, it analyses not only traditional photographic films, but also digital cinema, and a variety of interactive cinematic works, including videogames, written in a clear and accessible style, the book examines the work of leading film theorists and philosophers of film, and develops a powerful framework with which to think about cinema as an art.--BOOK JACKET.

Table of contents provided by Syndetics

List of illustrations (p. ix)
Preface (p. xi)
Introduction (p. 1)
1.1 Film theory and philosophy (p. 2)
1.2 Moving image technologies (p. 6)
1 The challenges to cinema as an art (p. 21)
1.1 The causal challenge (p. 22)
1.2 The reproduction challenge (p. 34)
1.3 Film and communication (p. 42)
1.4 Digital cinema as art (p. 43)
2 Language and realism (p. 51)
2.1 Film as a language (p. 51)
2.2 Digital cinema and language (p. 56)
2.3 Realism: traditional and digital cinema (p. 60)
2.4 Transparency: traditional and digital cinema (p. 78)
3 Cinematic authorship (p. 98)
3.1 Two puzzles (p. 98)
3.2 Varieties of auteurism (p. 99)
3.3 Minimal auteurism (p. 102)
3.4 Three strategies for single authorship (p. 105)
3.5 Cinematic utterance and single authorship (p. 118)
3.6 Ontology and multiple authorship (p. 125)
3.7 The multiple-authorship view refined (p. 128)
3.8 Digital cinema and authorship (p. 133)
3.9 Interactivity and authorship (p. 140)
4 Understanding cinema (p. 152)
4.1 Intentionalism (p. 152)
4.2 Constructivism (p. 164)
4.3 The patchwork theory (p. 180)
4.4 Digital cinema and interpretation (p. 192)
5 Cinematic narration (p. 197)
5.1 Symmetry or asymmetry? (p. 197)
5.2 The a priori argument (p. 199)
5.3 Three models of implicit cinematic narrators (p. 202)
5.4 Absurd imaginings and silly questions (p. 209)
5.5 Literary narrators (p. 218)
5.6 Other narrative features (p. 221)
5.7 Interactive narration (p. 224)
6 Emotion and identification (p. 244)
6.1 Emotion and cinema (p. 244)
6.2 The concept of identification (p. 252)
6.3 Identification and film techniques (p. 263)
6.4 Identification and emotional learning (p. 268)
6.5 Emotion and interaction (p. 272)
7 The role of the medium (p. 282)
7.1 Two tendencies in the philosophy of art (p. 282)
7.2 Medium-specificity claims (p. 286)
7.3 Evaluating artworks (p. 292)
7.4 Explaining artistic features (p. 296)
7.5 Media and art forms (p. 300)
7.6 Conclusion (p. 306)
Bibliography (p. 308)
Index (p. 318)

Author notes provided by Syndetics

Berys Gaut is Professor of Philosophy at the University of St Andrews. He is the author of Art, Emotion and Ethics (2007) and co-editor of The Creation of Art (2003) and The Routledge Companion to Aesthetics (2nd edn, 2005).