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Informationen zum Autor Thomas E. Wartenberg is Professor of Philosophy at Mount Holyoke College, researching the intersection between philosophy and culture. A former Fulbright Research Fellow and a National Endowment for the Humanities Fellow, he is the author of Unlikely 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 Marshall College in Pennsylvania. Her primary areas of research are ancient Greek philosophy, aesthetics, and philosophy of film. Her work in philosophy of film includes an essay on tragedy and film horror for Dark Thoughts: Philosophical Reflections on Cinematic Horror (2003). Klappentext The Philosophy of Film draws readings from philosophy, film studies, and film criticism. Organized around a series of philosophical questions about film, it offers an accessible and engaging overview of the discipline. Readings from contrasting angles and points of view discuss the value of film theory, the nature of film narration, the debate on whether films can be socially critical, and the question of what we can learn from film. Offering clear and helpful section introductions and thought-provoking reading questions, this book is the ideal primary textbook for undergraduate courses on the philosophy of film or philosophically oriented courses in film theory. More information about this text along with further resources are available from the accompanying website at: http: //www.mtholyoke.edu/omc/phil-film/index.html Zusammenfassung Organized around a series of philosophic questions about film! this title offers an accessible overview of the discipline. It provides a selection of readings drawn from philosophy! film studies! and film criticism. It has multiple points of view highlighted in discussion of film theory! narration! film and emotion! and social values of cinema. Inhaltsverzeichnis Acknowledgments. General Introduction. . Part I: Do We Need Film Theory? . Introduction. Study Questions. 1. Prospects for Film Theory (Noël Carroll). 2. Can Scientific Models of Theorizing Help Film Theory (Malcolm Turvey). 3. Philosophy of Film as the Creation of Concepts (Gilles Deleuze) . Part II: What Is the Nature of Film? . Introduction. Study Questions. 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 (Trevor Ponech) . Part III: Do Films Have Authors? . Introduction. Study Questions. 9. La Politique des Auteurs (François Truffaut). 10. Auteur Theory and Film Evaluation (Andrew Sarris). 11. The Idea of Film Criticism (Pauline Kael). 12. Against Authorship (Stephen Heath). 13. DVD's and the Director's Intentions (Deborah Parker and Mark Parker) . Part IV: How Do Films Engage Our Emotions? . Introduction. Study Questions. 14. Narrative Desire (Gregory Currie). 15. Spectator Emotion and Ideological Film Criticismm (Carl Plantinga). 16. Engaging Characters (Murray Smith). 17. The Paradox of Horror (Noël Carroll) . Part V: Must Films Have Narrators? . Introduction. Study Questions. 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? . Introduction. ...
