{"product_id":"the-philosophy-of-film-isbn-9781405114424","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 \u003cp\u003eAcknowledgments viii\u003c\/p\u003e \u003cp\u003eGeneral Introduction 1\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I: Do We Need Film Theory? 5\u003cbr\u003e \u003c\/b\u003eIntroduction 5\u003cbr\u003e Study Questions 8\u003c\/p\u003e \u003cp\u003e1 Prospects for Film Theory: A Personal Assessment 11\u003cbr\u003e \u003ci\u003eNoël Carroll\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2 Can Scientific Models of Theorizing Help Film Theory? 21\u003cbr\u003e \u003ci\u003eMalcolm Turvey\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3 Philosophy of Film as the Creation of Concepts 33\u003cbr\u003e \u003ci\u003eGilles Deleuze\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: What Is the Nature of Film? 39\u003c\/b\u003e\u003cbr\u003e Introduction 39\u003cbr\u003e Study Questions 41\u003c\/p\u003e \u003cp\u003e4 Defining the Photoplay 43\u003cbr\u003e \u003ci\u003eHugo Münsterberg\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5 The Artistry of Silent Film 50\u003cbr\u003e \u003ci\u003eRudolf Arnheim\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6 Cinematic Realism 59\u003cbr\u003e \u003ci\u003eAndré Bazin\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e7 Film, Photography, and Transparency 70\u003cbr\u003e \u003ci\u003eKendall L. Walton\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e8 Non-fictional Cinematic Artworks and Knowledge 77\u003cbr\u003e \u003ci\u003eTrevor Ponech\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III: Do Films Have Authors? 91\u003c\/b\u003e\u003cbr\u003e Introduction 91\u003cbr\u003e Study Questions 94\u003c\/p\u003e \u003cp\u003e9 La Politique des Auteurs 95\u003cbr\u003e \u003ci\u003eFrançois Truffaut\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e10 Auteur Theory and Film Evaluation 99\u003cbr\u003e \u003ci\u003eAndrew Sarris\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e11 The Idea of Film Criticism 108\u003cbr\u003e \u003ci\u003ePauline Kael\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e12 Against Authorship 118\u003cbr\u003e \u003ci\u003eStephen Heath\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e13 DVDs and the Director’s Intentions 123\u003cbr\u003e \u003ci\u003eDeborah Parker and Mark Parker\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV: How Do Films Engage Our Emotions? 133\u003c\/b\u003e\u003cbr\u003e Introduction 133\u003cbr\u003e Study Questions 136\u003c\/p\u003e \u003cp\u003e14 Narrative Desire 139\u003cbr\u003e \u003ci\u003eGregory Currie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e15 Spectator Emotion and Ideological Film Criticism 148\u003cbr\u003e \u003ci\u003eCarl Plantinga\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e16 Engaging Characters 160\u003cbr\u003e \u003ci\u003eMurray Smith\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e17 The Paradox of Horror 170\u003cbr\u003e \u003ci\u003eNoël Carroll\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V: Must Films Have Narrators? 179\u003c\/b\u003e\u003cbr\u003e Introduction 179\u003cbr\u003e Study Questions 181\u003c\/p\u003e \u003cp\u003e18 Principles of Film Narration 183\u003cbr\u003e \u003ci\u003eDavid Bordwell\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e19 The Cinematic Narrator 190\u003cbr\u003e \u003ci\u003eSeymour Chatman\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e20 Narration as Showing 198\u003cbr\u003e \u003ci\u003eGeorge M. Wilson \u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI: Can Films Be Socially Critical? 209\u003c\/b\u003e\u003cbr\u003e Introduction 209\u003cbr\u003e Study Questions 212\u003c\/p\u003e \u003cp\u003e21 The Politics of Representation 213\u003cbr\u003e \u003ci\u003eMichael Ryan and Douglas Kellner\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e22 But Would You Want Your Daughter To Marry One? Politics and Race in Guess Who’s Coming to Dinner 225\u003cbr\u003e \u003ci\u003eThomas E. Wartenberg\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e23 Stella at the Movies: Class, Critical Spectatorship, and Melodrama in Stella Dallas 235\u003cbr\u003e \u003ci\u003eAngela Curran\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VII: What Can We Learn From Films? 247\u003c\/b\u003e\u003cbr\u003e Introduction 247\u003cbr\u003e Study Questions 250\u003c\/p\u003e \u003cp\u003e24 Knowledge as Transgression: It Happened One Night 253\u003cbr\u003e \u003ci\u003eStanley Cavell\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e25 Realist Horror 260\u003cbr\u003e \u003ci\u003eCynthia A. Freeland\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e26 Philosophy Screened: Experiencing The Matrix 270\u003cbr\u003e \u003ci\u003eThomas E. Wartenberg\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e27 Virtue and Happiness in Groundhog Day 284\u003cbr\u003e \u003ci\u003eJoseph H. Kupfer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eSuggestions for Further Reading 295\u003c\/p\u003e \u003cp\u003eIndex 298\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":47990309978341,"sku":"NP9781405114424","price":56.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781405114424.jpg?v=1761787302","url":"https:\/\/k12savings.com\/products\/the-philosophy-of-film-isbn-9781405114424","provider":"K12savings","version":"1.0","type":"link"}