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Item Details
| Title:
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FILM THEORY AND PHILOSOPHY
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| By: |
Richard Allen (Editor), Murray Smith (Editor) |
| Format: |
Paperback |
| List price:
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£74.00 |
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We currently do not stock this item, please contact the publisher directly for
further information.
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| ISBN 10: |
0198159889 |
| ISBN 13: |
9780198159889 |
| Publisher: |
OXFORD UNIVERSITY PRESS |
| Pub. date: |
13 May, 1999 |
| Pages: |
486 |
| Description: |
This volume of new essays gives impetus to a growing movement in film theory in which many of the assumptions that have governed film theory of the last twenty years are being questioned and overturned. It brings together film scholars and philosophers united by a commitment to the standards of argumentation that characterize analytic philosophy rather than by a single doctrinal approach. Topics addressed include genre, authorship, emotion, ideology, representation,and expression in film. |
| Synopsis: |
While concepts from and debates within Continental philosophy have long formed a backdrop to arguments in film theory and criticism, exchanges between Anglo-American 'analytic' philosophy and film studies have been relatively few and far between. In recent years this has begun to change, as the consensus around semiotic and psychoanalytic approaches has weakened, as film scholars have turned their attention to other sources such as cognitive theory and analytic philosophy, and as philosophers have taken a more focused interest in film. This volume provides further momentum to these developments. It is comprised of new essays on a wide range of topics by both film scholars and philosophers who share the commitment to conceptual investigation, logical consistency, and clarity of argument that characterizes analytic philosophy. The first section addresses the nature of cinematic representation, while the second section re-examines notions of authorship and intentionality in our understanding and appreciation of films. Sections 3 and 4 look at ideology and aesthetics respectively, while the final section considers the nature and place of emotion in film spectatorship.The diversity of the questions addressed here (aesthetics and politics in black film theory, film music, authorship, genre, comedy, epistemology, feminism, and film theory) is matched by the range of positions argued for and demonstrates a vital plurality of perspectives rather than a single line of thought. |
| Publication: |
UK |
| Imprint: |
Oxford University Press |
| Returns: |
Non-returnable |
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