By Katherine Thomson-Jones
Aesthetics and picture is a philosophical examine of the paintings of movie. Its motivation is the new surge of curiosity between analytic philosophers within the philosophical implications of valuable concerns in movie concept and the appliance of common concerns in aesthetics to the categorical case of movie. Of specific curiosity are questions in regards to the specified representational capacities of movie paintings, quite when it comes to realism and narration, the impression of the literary paradigm in realizing movie authorship and interpretation, and our creative and affective engagement with movie. For all of those questions, Katherine Thomson-Jones severely compares the main compelling solutions, riding domestic key issues with quite a lot of movie examples. scholars and students of aesthetics and cinema will locate this an illuminating, obtainable and hugely relaxing research into the character and tool of a technologically evolving paintings shape.
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Extra info for Aesthetics and Film
The objective nature of photography confers on it a quality of cred ibility absent from all other picture making In spite of any objec tions our critical spirit may offer, we are forced to accept as real the existence of the object reproduced, actually re-presented, set before us, that is to say, in time and space. Photography enjoys a certain advantage in virtue of this transference of reality from the thing to its reproduction 35 - . Bazin then goes even further with the following claim: 'The photo graphic image is the object itself, the object freed from the conditions of time and space that govern it' .
If you have read any post structuralist or postmodern literary theory - particularly the work of Michele Foucault or Roland Barthes, you will already know about the ultimate rejection of the notion of authorship as a repressive principle of interpretation. This idea has had significant influence over film theory. And yet, film critics have continued to refer to the author or auteur, as though we cannot help but think of certain films as the product of a creative plan or as vehicles for personal expression.
Better expresses the inherent realism of the medium. This is not an implausible sugges tion even though Bazin does not support it with a fully developed argument. As we shall see, the idea that film and photography are realistic because their manner of production supports a certain kind of perceptual experience is taken up by the philosopher, Kendall Walton. Walton pro vides the argument that Bazin needed, avoiding both metaphysical absurdity and contradiction, though, as his several critics will tell us, there is still something a little strange about his claims.
Aesthetics and Film by Katherine Thomson-Jones