Berys Gaut

Philosophy of Cinematic Art (eBook, ePUB)

• Format: ePub

Produktbeschreibung

A Philosophy of Cinematic Art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with characters, and the nature of the cinematic medium. Groundbreaking in its coverage of a wide range of contemporary cinematic media, it analyses not only traditional photographic films, but also digital cinema, and a variety of interactive cinematic works, including videogames. Written in a clear and accessible style, the book examines the work of leading film theorists and philosophers of film, and develops a powerful framework with which to think about cinema as an art.

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Produktdetails

• Verlag: Cambridge University Press
• Erscheinungstermin: 14. Januar 2010
• Englisch
• ISBN-13: 9780511739149
• Artikelnr.: 52835405

Autorenporträt

Berys Gaut is Professor of Philosophy at the University of St Andrews. He is the author of Art, Emotion and Ethics (2007) and co-editor of The Creation of Art (2003).

Inhaltsangabe

Introduction
1. The challenges to cinema as an art
2. Language and realism
3. Cinematic authorship
4. Understanding cinema
5. Cinematic narration
6. Emotion and identification
7. The role of the medium
Bibliography
Index.

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Introduction; 1. The challenges to cinema as an art; 2. Language and realism; 3. Cinematic authorship; 4. Understanding cinema; 5. Cinematic narration; 6. Emotion and identification; 7. The role of the medium; Bibliography; Index.

Rezensionen

'In A Philosophy of Cinematic Art, Berys Gaut offers profound and original answers to the two fundamental questions of classical film theory: what is the nature of cinematic specificity, and what makes cinema an art form? Along the way, he writes with characteristic depth, clarity, and, above all, good sense, on the central topics of film theory, and his extended treatment of digital cinema, hitherto neglected by philosophers, is both timely and illuminating. As the first work of analytic film theory to bridge the divide between classical film theory and the contemporary philosophy of film, A Philosophy of Cinematic Art is of signal importance to the history of film theory and it should be read widely both by film scholars and philosophers of art.' Richard Allen, New York University