Philosophy of Film and Motion Pictures

Acknowledgments.
<p>General IntroductionPart I: Film as Art.</p>
<p>Introduction.</p>
<p>1 Roger Scruton.</p>
<p>Photography and Representation.</p>
<p>2 Dominic McIver Lopes.</p>
<p>The Aesthetics of Photographic Transparency.</p>
<p>3 Terrence Rafferty.</p>
<p>Everybody Gets a Cut: DVDs Give Viewers Dozens of Choices –– and That′s the Problem.</p>
<p>Part II: What Is Film?.</p>
<p>Introduction.</p>
<p>4 Stanley Cavell.</p>
<p>From The World Viewed.</p>
<p>5 Susanne K. Langer.</p>
<p>A Note on the Film.</p>
<p>6 F. E. Sparshott.</p>
<p>Vision and Dream in the Cinema.</p>
<p>7 Gregory Currie.</p>
<p>The Long Goodbye: The ImaginaryLanguage of Film.</p>
<p>8 Arthur C. Danto.</p>
<p>Moving Pictures.</p>
<p>9 No&euml;l Carroll.</p>
<p>Defining the Moving ImagePart III: Documentary.</p>
<p>Introduction.</p>
<p>10 Gregory Currie.</p>
<p>Visible Traces: Documentary and the Contents of Photographs.</p>
<p>11 No&euml;l Carroll.</p>
<p>Fiction, Non–Fiction, and the Film of Presumptive Assertion: A Conceptual Analysis.</p>
<p>Part IV: Film Narrative/Narration.</p>
<p>Introduction.</p>
<p>12 George Wilson.</p>
<p>Le Grand Imagier Steps Out: The Primitive Basis of Film Narration.</p>
<p>13 Gregory Currie.</p>
<p>Unreliability Refigured: Narrative in Literature and Film.</p>
<p>Part V: Film and Emotion.</p>
<p>Introduction.</p>
<p>14 No&euml;l Carroll.</p>
<p>Film, Emotion, and Genre.</p>
<p>15 Kendall Walton.</p>
<p>Fearing Fictions.</p>
<p>16 Alex Neill.</p>
<p>Empathy and (Film) Fiction.</p>
<p>17 Berys Gaut.</p>
<p>Identification and Emotion in Narrative Film.</p>
<p>18 Deborah Knight.</p>
<p>In Fictional Shoes: Mental Simulation and Fiction.</p>
<p>.</p>
<p>Part VI: Topics in Film Criticism.</p>
<p>Introduction.</p>
<p>19 George M. Wilson.</p>
<p>Morals for Method.</p>
<p>20 Paisley Livingston.</p>
<p>Cinematic Authorship.</p>
<p>21 Jinhee Choi.</p>
<p>National Cinema, the Very Idea.</p>
<p>Part VII: Film and Ethics.</p>
<p>Introduction.</p>
<p>22 Joseph H. Kupfer.</p>
<p>Film Criticism and Virtue Theory.</p>
<p>23 Mary Devereaux.</p>
<p>Beauty and Evil: The Case of Leni Riefenstahl s Triumph of the Will.</p>
<p>24 Melinda Vadas.</p>
<p>A First Look at the Pornography: Civil Rights Ordinance: Could Pornography Be the Subordination of Women?.</p>
<p>Part VIII: Film and Knowledge.</p>
<p>Introduction.</p>
<p>25 Bruce Russell.</p>
<p>The Philosophical Limits of Film.</p>
<p>26 Karen Hanson.</p>
<p>Minerva in the Movies: Relations Between Philosophy and Film.</p>
<p>27 Lester H. Hunt.</p>
<p>Motion Pictures as a Philosophical Resource.</p>
<p>Select Bibliography by Jinhee Choi.</p>
<p>Index</p>