Philosophy of the Film: Epistemology, Ontology, Aesthetics
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Examines the overlap between film and philosophy in three distinct ways: epistemological issues in film-making and viewing; aesthetic theory and film; and film as a medium of philosophical expression.
not a mere expression of snobbery. There are, after all, a good many truths in the argument. From time immemorial the classical arts have involved the cultivation of 211 sensibility; it has been held that commercial movies or even sensual ones turn both artist and audience away from that cultivation. It is not necessary for the argument to lump films together indiscriminately, as in the formulation just given. The argument can be strengthened by allowing that there are good, bad and
ever took place (c.p. Jaehne 1983, pp. 1415). In a not untypical film I counted twentyfive camera setups for one act of intercourse, with cutbacks to several of the set 242 ups. Even with handheld cameras and possibly multiple cameras such a series of setups would take much longer than the sex act depicted. Only in legend do people perform for hours. In reality each setup requires repositioning the actors, relighting, touching up makeup and the set, instructions from the director,
an answer and, I have earlier argued (Part II, section 7.23), the wrong answer to the question ‘who is the author?’ The answer I suggested was that in fact a committee is the author. In practice we can attribute authorship to an individual but only if we keep the attribution under constant review. Hence, to validate a claim that Welles is obsessed with childhood and that this shows in his films, it would be necessary to discuss in detail the collaborative process of making his films, to show
332, 350, 363 mimesis, 160 t mind, 345, 58, 70, 71, 83, 84, 90, 94, 110, 113, 130, 136, 2078 ; being and consciousness, 136, see also being, consciousness, ontology; mental processes, 82 ; and movies, 90 ; world relationship, 345, 58, 71, 2078 ; see also, psychology, world Mind Benders, The, 59 Mirror of Nature, The, 119 mistakes, 22931 modernism, 131, 173, 285, 322 t , 324, 325, 333, 352 money, 2112 montage, see editing Monthly Film Bulletin, 358 morality, 7, 233, 251,
its differences. In sum, we can use film to face and face down the metaphysical problem of appearance and reality. How do we know we are not prisoners in the cave? Answer: we do not know; it is a hypothesis, a hypothesis we keep constantly before our mind by testing our sense of reality. By confronting ourselves, that is, playfully, with the seemingly real and thereby limning the boundaryline between the real and the unreal. This does not dispose of the problem, since every putative