{"product_id":"the-philosophy-of-film-isbn-9781405114417","title":"The Philosophy of Film","description":"Organized around a series of philosophic questions about film, \u003ci\u003eThe Philosophy of Film: Introductory Text and Readings\u003c\/i\u003e offers an accessible and engaging overview of the discipline. \u003cbr\u003e \u003cul\u003e \u003cli style=\"list-style: none\"\u003e\n\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eProvides thorough selection of readings drawn from philosophy, film studies, and film criticism\u003c\/li\u003e \u003c\/ul\u003e \u003cbr\u003e \u003cp\u003e\u003cbr\u003e \u003c\/p\u003e \u003cul\u003e \u003cli style=\"list-style: none\"\u003e\n\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eMultiple points of view highlighted in discussion of film theory, narration, authorship, film and emotion, and the social values of cinema\u003c\/li\u003e \u003c\/ul\u003e \u003cbr\u003e \u003cp\u003e\u003cbr\u003e \u003c\/p\u003e \u003cul\u003e \u003cli style=\"list-style: none\"\u003e\n\u003cbr\u003e \u003c\/li\u003e \u003cli\u003ePresents thought-provoking reading questions as well as clear and helpful introductions for each section\u003c\/li\u003e \u003c\/ul\u003e \u003cbr\u003e \u003cp\u003eMore information about this text along with further resources are available from the accompanying website at: http:\/\/www.mtholyoke.edu\/omc\/phil-film\/index.html\u003c\/p\u003e  Acknowledgments. \u003cp\u003eGeneral Introduction.\u003cb\u003e.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I: Do We Need Film Theory?\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003eStudy Questions.\u003c\/p\u003e \u003cp\u003e1. Prospects for Film Theory (Noël Carroll).\u003c\/p\u003e \u003cp\u003e2. Can Scientific Models of Theorizing Help Film Theory (Malcolm Turvey).\u003c\/p\u003e \u003cp\u003e3. Philosophy of Film as the Creation of Concepts (Gilles Deleuze)\u003cb\u003e.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: What Is the Nature of Film?\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003eStudy Questions.\u003c\/p\u003e \u003cp\u003e4. Defining the Photoplay (Hugo Munsterberg).\u003c\/p\u003e \u003cp\u003e5. The Artistry of Silent Film (Rudolph Arnheim).\u003c\/p\u003e \u003cp\u003e6. Cinematic Realism (Andre Bazin).\u003c\/p\u003e \u003cp\u003e7. Film, Photography, and Transparency (Kendall L. Walton).\u003c\/p\u003e \u003cp\u003e8. Non-fictional Cinematic Artworks and Knowledge (Trevor Ponech)\u003cb\u003e.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III: Do Films Have Authors?\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003eStudy Questions.\u003c\/p\u003e \u003cp\u003e9. La Politique des Auteurs (François Truffaut).\u003c\/p\u003e \u003cp\u003e10. \u003ci\u003eAuteur\u003c\/i\u003e Theory and Film Evaluation (Andrew Sarris).\u003c\/p\u003e \u003cp\u003e11. The Idea of Film Criticism (Pauline Kael).\u003c\/p\u003e \u003cp\u003e12. Against Authorship (Stephen Heath).\u003c\/p\u003e \u003cp\u003e13. DVD’s and the Director’s Intentions (Deborah Parker and Mark Parker)\u003cb\u003e.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV: How Do Films Engage Our Emotions?\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003eStudy Questions.\u003c\/p\u003e \u003cp\u003e14. Narrative Desire (Gregory Currie).\u003c\/p\u003e \u003cp\u003e15. Spectator Emotion and Ideological Film Criticismm (Carl Plantinga).\u003c\/p\u003e \u003cp\u003e16. Engaging Characters (Murray Smith).\u003c\/p\u003e \u003cp\u003e17. The Paradox of Horror (Noël Carroll)\u003cb\u003e.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V: Must Films Have Narrators?\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003eStudy Questions.\u003c\/p\u003e \u003cp\u003e18. Principles of Film Narration (David Bordwell).\u003c\/p\u003e \u003cp\u003e19. The Cinematic Narrator (Seymour Chatman).\u003c\/p\u003e \u003cp\u003e20. Narration as Showing (George M. Wilson)\u003cb\u003e.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI: Can Films Be Socially Critical?\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003eStudy Questions.\u003c\/p\u003e \u003cp\u003e21. The Politics of Representation (Michael Ryan and Douglas Kellner).\u003c\/p\u003e \u003cp\u003e22. But Would You Want Your Daughter To Marry One? Politics and Race in \u003ci\u003eGuess Who’s Coming To Dinner\u003c\/i\u003e (Thomas E. Wartenberg).\u003c\/p\u003e \u003cp\u003e23. Stella at the Movies: Critical Spectatorship and Melodrama in \u003ci\u003eStella Dallas\u003c\/i\u003e (Angela Curren)\u003cb\u003e.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VII: What Can We Learn From Films?\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003eStudy Questions.\u003c\/p\u003e \u003cp\u003e24. Knowledge as Transgression: \u003ci\u003eIt Happened One Night\u003c\/i\u003e (Stanley Cavell).\u003c\/p\u003e \u003cp\u003e25. Realist Horror (Cynthia A. Freeland).\u003c\/p\u003e \u003cp\u003e26. Philosophy Screened: Viewing \u003ci\u003eThe Matrix\u003c\/i\u003e (Thomas E. Wartenberg).\u003c\/p\u003e \u003cp\u003e27. Virtue and Happiness in \u003ci\u003eGroundhog Day\u003c\/i\u003e (Joseph Kupfer).\u003c\/p\u003e \u003cp\u003eSuggestions for Further Reading.\u003c\/p\u003e \u003cp\u003eIndex.\u003c\/p\u003e  “Congratulations to Wartenberg and Curran for their terrific anthology. Uniting key works in film theory, criticism, and philosophy, this much-needed text has excellent sections on core topics.” \u003ci\u003eDeborah Knight, Queen’s University at Kingston\u003c\/i\u003e\u003cbr\u003e \u003cp\u003e\u003cbr\u003e \u003c\/p\u003e \u003cp\u003e“\u003ci\u003eThe Philosophy of Film\u003c\/i\u003e presents a judicious selection of influential writings on the philosophy of film from across the spectrum of current opinion, though weighted toward the increasingly dominant cognitivist paradigm of film experience. The introductory and pedagogic material provided by the editors is uniformly helpful.”\u003cbr\u003e \u003ci\u003eJerrold Levinson, University of Maryland, and Past President, American Society for Aesthetics\u003c\/i\u003e\u003cbr\u003e \u003c\/p\u003e \u003cp\u003e\u003cbr\u003e \u003c\/p\u003e \u003cp\u003e“Bringing together important writings by prominent philosophers and film theorists, this volume of readings with useful editorial commentary will prove a valuable resource for students of the philosophy of film.” \u003ci\u003eBerys Gaut, University of St Andrews\u003c\/i\u003e\u003c\/p\u003e  \u003cb\u003eThomas E. Wartenberg\u003c\/b\u003e 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 \u003ci\u003eUnlikely Couples: Movie Romance as Social Criticism\u003c\/i\u003e (1999). His other publications include \u003ci\u003eThe Nature of Art\u003c\/i\u003e (ed., 2002) and \u003ci\u003ePhilosophy and Film\u003c\/i\u003e (co-ed., 1995).\u003cbr\u003e \u003cp\u003e\u003cbr\u003e \u003c\/p\u003e \u003cp\u003e\u003cb\u003eAngela Curran\u003c\/b\u003e 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 \u003ci\u003eDark Thoughts: Philosophical Reflections on Cinematic Horror\u003c\/i\u003e (2003).\u003c\/p\u003e  \u003ci\u003eThe Philosophy of Film\u003c\/i\u003e 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.\u003cbr\u003e \u003cp\u003e\u003cbr\u003e \u003c\/p\u003e \u003cp\u003eOffering 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.\u003cbr\u003e \u003c\/p\u003e \u003cp\u003e\u003cbr\u003e \u003c\/p\u003e \u003cp\u003eMore information about this text along with further resources are available from the accompanying website at: http:\/\/www.mtholyoke.edu\/omc\/phil-film\/index.html\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47990310043877,"sku":"NP9781405114417","price":176.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781405114417.jpg?v=1761787301","url":"https:\/\/k12savings.com\/es\/products\/the-philosophy-of-film-isbn-9781405114417","provider":"K12savings","version":"1.0","type":"link"}