Engaging the Moving Image
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Noel Carroll, film philosopher, has gathered in this book 18 of his most recent essays on cinema and television - what Carroll calls moving images. The essays discuss topics in philosophy, film theory, and film criticism. Drawing on concepts from cognitive psychology and analytic philosophy, Carroll examines a wide range of topics. These include film attention, the emotional address of the moving image, film and racism, the nature and epistemology of documentary film, the moral status of television, the concept of film style, the foundations of film evaluation, the film theory of Siegfried Kracauer, the ideology of the professional western, and films by Sergei Eisenstein and Yvonne Rainer. Carroll also assesses the state of contemporary film theory and speculates on its prospects. The book continues many of the themes of Carroll's earlier work, Theorizing the Moving Image, and develops them in new directions. A general introduction by George Wilson situates Carroll's essays in relation to his view of moving-image studies.
sighted person, of following a glance to its target. It does not resemble this perceptual experience in every phenomenological respect, since it deletes the space between the glance and its target. But it does resemble the disposition of the gaze to follow the glance of another to its target in enough salient phenomenological and functional respects that one is able to pick up the significance of this visual structure without training. This is the naturalist’s answer to the question of why
human—so far have they fallen short of our concept of humanity that they need not be treated morally. With the horror genre, the default is that we do not worry about the rights of monsters, while, with humor, the moral claims of comic butts can rarely be entertained without compromising the gag or the joke. Thus, in mobilizing the visual vocabularies of horror and humor, the ideologue not only puts the relevant ethnicities and races beyond the human pale but also deprives them of the moral
the precincts of the voodoo worshipers, is intended to violate our stereotypes of the human—he is painfully gaunt, and his huge, exaggeratedly fixated white eyes pop out of the darkness preternaturally.33 The image of the zombie can be made to count doubly against blacks. There Ethnicity, Race, and Monstrosity is the image of the zombie himself or herself, who can be made to function as an image of the black person as a mindless, subhuman slave. But there is also the priest or necromancer who
conception. That is, in future times—indeed, even at present—there is no reason to suppose that the destiny of the moving image is or will remain bound up with film. For already the characteristic modes of articulation introduced and refined by film are available in the domains of video and CGI. And one imagines other alternatives are yet to come. Who knows, perhaps there could even be a moving image artform based on sonograms. What is of primary importance aesthetically, in my opinion, is, in
filmmaking is alive and abroad in the historical and/or cultural context from which the film emerged (especially when competing categories are not), then that supplies rational grounds for film categorization. This too is a question of fact. That suspense films are common currency in the cultural enclave of Hollywood-type movie-making and that New Talkies and, for that matter, art films are not provides us with contextual reasons for arguing that Speed belongs to the comparison class of suspense