By Ian Jarvie
Examines the overlap among movie and philosophy in 3 particular methods: epistemological concerns in film-making and viewing; aesthetic conception and picture; and picture as a medium of philosophical expression.
Read or Download Philosophy of the Film: Epistemology, Ontology, Aesthetics PDF
Similar aesthetics books
This anthology is impressive not just for the choices themselves, between which the Schelling and the Heidegger essays have been translated specifically for this quantity, but additionally for the editors' normal creation and the introductory essays for every choice, which make this quantity a useful reduction to the research of the strong, recurrent rules bearing on paintings, attractiveness, severe procedure, and the character of illustration.
Книга paintings in Its Time artwork in Its Time Книги Искусство. Живопись Автор: Paul Mattick Год издания: 2003 Формат: pdf Издат. :Routledge Страниц: 192 Размер: 3,2 ISBN: 0415239214 Язык: Английский0 (голосов: zero) Оценка:This e-book explores paintings as necessary to the standard lifetime of sleek society, supplying fabrics to symbolize classification and clash, to discover intercourse and sexuality, and to consider smooth and financial relationships.
At the present time, the chic has back develop into the focal point of sustained reconsideration, yet now for its epistemological and ontological—or presentational—aspects. As an unmasterable far more than attractiveness, the elegant marks the boundaries of representational pondering. those essays may be crucial studying for somebody whose paintings is worried with the elegant or, extra in general, with the boundaries of illustration, together with philosophers, literary students and paintings historians.
- Nelson Goodman and the Case for a Kalological Aesthetics
- Philosophers on Art from Kant to the Postmodernists: A Critical Reader
- Art and art attempts
- Music at the Limits
- Aesthetics and Modernity: Essays by Agnes Heller
Extra resources for Philosophy of the Film: Epistemology, Ontology, Aesthetics
Do you think, in the first place, that such men could see anything of themselves and each other except for shadows which the fire casts upon the wall of the cave in front of them? —How could they, if they have to keep their heads still throughout life? —And is not the same true of objects carried along the wall? —Quite. —If they converse with one another, do you think that they would consider these shadows to be the real things? —Necessarily. Do you agree? —By Zeus I do. —Altogether then, I said, such men would believe the truth to be nothing else than the shadows of the artifacts?
141). Less kindly put, one could make this point: unless the phenomenon of film can be discovered to have an essence different from the phenomenon of experience in general then phenomenology will be unable to discern a difference between the real world and the film world. It seems to me that the idea that there are essences, whether those essences are of universals to be specified in Aristotelian definitions or of phenomena to be articulated in phenomenological statements, is unhelpful. Why must there be?
Their input was essential if an edifice of delusion rather than knowledge was not to be built into the Republic’s educational curriculum. The shadows are artifacts, only some being reproductions of objects in the real world. At the very least people may take knowledge selectively from films, knowledge that conflicts with what are accepted as truths in the society at large. Films might suggest that fun rather than hard work was an appropriate aim in life; that the senior generation is not necessarily the wiser; that the upper class is not necessarily worthy of its status; that all of life’s problems solve themselves if one can find true romantic love.
Philosophy of the Film: Epistemology, Ontology, Aesthetics by Ian Jarvie