New PDF release: Philosophy of the Film: Epistemology, Ontology, Aesthetics

By Ian Jarvie

ISBN-10: 0710210167

ISBN-13: 9780710210166

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.

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Extra resources for Philosophy of the Film: Epistemology, Ontology, Aesthetics

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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.

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Philosophy of the Film: Epistemology, Ontology, Aesthetics by Ian Jarvie


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