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<p>Acknowledgments viii</p> <p>General Introduction 1</p> <p><b>Part I Film as Art 5</b></p> <p>Introduction 7</p> <p>1 Photography and Representation 19<br /><i>Roger Scruton</i></p> <p>2 The Aesthetics of Photographic Transparency 35<br /><i>Dominic McIver Lopes</i></p> <p>3 Everybody Gets a Cut: DVDs Give Viewers Dozens of Choices -- and that's the Problem 44<br /><i>Terrence Rafferty</i></p> <p><b>Part II What Is Film? 49</b></p> <p>Introduction 51</p> <p>4 The World Viewed 67<br /><i>Stanley Cavell</i></p> <p>5 A Note on the Film 79<br /><i>Susanne K. Langer</i></p> <p>6 Vision and Dream in the Cinema 82<br /><i>F. E. Sparshott</i></p> <p>7 The Long Goodbye: The Imaginary Language of Film 91<br /><i>Gregory Currie</i></p> <p>8 Moving Pictures 100<br /><i>Arthur C. Danto</i></p> <p>9 Defining the Moving Image 113<br /><i>Noël Carroll</i></p> <p><b>Part III Documentary 135</b></p> <p>Introduction 137</p> <p>10 Visible Traces: Documentary and the Contents of Photographs 141<br /><i>Gregory Currie</i></p> <p>11 Fiction, Non-Fiction, and the Film of Presumptive Assertion: A Conceptual Analysis 154<br /><i>Noël Carroll</i></p> <p><b>Part IV Film Narrative/Narration 173</b></p> <p>Introduction 175</p> <p>12 Le Grand Imagier Steps Out: The Primitive Basis of Film Narration 185<br /><i>George M. Wilson</i></p> <p>13 Unreliability Refigured: Narrative in Literature and Film 200<br /><i>Gregory Currie</i></p> <p><b>Part V Film and Emotion 211</b></p> <p>Introduction 213</p> <p>14 Film, Emotion, and Genre 217<br /><i>Noël Carroll</i></p> <p>15 Fearing Fictions 234<br /><i>Kendall Walton</i></p> <p>16 Empathy and (Film) Fiction 247<br /><i>Alex Neill</i></p> <p>17 Identification and Emotion in Narrative Film 260<br /><i>Berys Gaut</i></p> <p>18 In Fictional Shoes: Mental Simulation and Fiction 271<br /><i>Deborah Knight</i></p> <p><b>Part VI Topics in Film Criticism 281</b></p> <p>Introduction 283</p> <p>19 Morals for Method 287<br /><i>George M. Wilson</i></p> <p>20 Cinematic Authorship 299<br /><i>Paisley Livingston</i></p> <p>21 National Cinema, the Very Idea 310<br /><i>Jinhee Choi</i></p> <p><b>Part VII Film and Ethics 321</b></p> <p>Introduction 323</p> <p>22 Film Criticism and Virtue Theory 335<br /><i>Joseph H. Kupfer</i></p> <p>23 Beauty and Evil: The Case of Leni Riefenstahl's Triumph of the Will 347<br /><i>Mary Devereaux</i></p> <p>24 A First Look at the Pornography/Civil Rights Ordinance: Could Pornography Be the Subordination of Women? 362<br /><i>Melinda Vadas</i></p> <p><b>Part VIII Film and Knowledge 379</b></p> <p>Introduction 381</p> <p>25 The Philosophical Limits of Film 387<br /><i>Bruce Russell</i></p> <p>26 Minerva in the Movies: Relations Between Philosophy and Film 391<br /><i>Karen Hanson</i></p> <p>27 Motion Pictures as a Philosophical Resource 397<br /><i>Lester H. Hunt</i></p> <p>Select Bibliography by Jinhee Choi 407</p> <p>Index 415</p>

“While theoretically inclined film scholars continue to recycle the theories of Lacan and Deleuze, analytical philosophers have quietly assumed the leading edge of film theory. This judicious collection of essays, framed by thoughtful commentaries, provides an ideal introduction to the field of analytic film theory for students of philosophy and film alike.” <i>Richard Allen, New York University</i><br /> <p><br /> </p> <p>“The philosophy of film and motion pictures has flourished in the last forty years or so, and Carroll and Choi’s anthology offers a marvelous overview of the chief issues. This volume assembles many of the best contributions by contemporary philosophers, and will serve as an excellent textbook in relevant courses. I expect it will also be an important stimulus to further research.” <i>George Wilson, University of Southern California</i></p>

<b>Noël Carroll</b> is the Mellon Professor of the Humanities at Temple University and the author of <i>Beyond Aesthetics</i> (2001), <i>A Philosophy of Mass Art</i> (1999), and <i>Interpreting the Moving Image</i> (1998).<br /> <p><b>Jinhee Choi</b> is Assistant Professor of Film Studies at Carleton University. Her work has appeared in the <i>Journal of Aesthetics and Art Criticism</i> and <i>The British Journal of Aesthetics.</i></p>

<p>This authoritative anthology presents key selections from the best contemporary work in philosophy of film and motion pictures. Designed for classroom use, the essays that comprise this volume have been specially chosen for their clarity, precision, philosophical depth, and consonance with current cognitive science and psychology.</p> <p>The volume's eight sections, each introduced by the editors, cover topics such as</p> <ul> <li>Film as art</li> <li>The nature of film</li> <li>Documentary cinema</li> <li>Narration and emotion in film</li> <li>Film criticism</li> <li>Film's relation to knowledge and morality</li> </ul> <p>Whether addressing assumptions about the objectivity of documentary film, fear of movie monsters, or moral questions surrounding the viewing of pornography, this text is replete with examples and discussion of moving pictures throughout.</p>

“While theoretically inclined film scholars continue to recycle the theories of Lacan and Deleuze, analytical philosophers have quietly assumed the leading edge of film theory. This judicious collection of essays, framed by thoughtful commentaries, provides an ideal introduction to the field of analytic film theory for students of philosophy and film alike.” <i>Richard Allen, New York University</i><br /> <p><br /> </p> <p>“The philosophy of film and motion pictures has flourished in the last forty years or so, and Carroll and Choi’s anthology offers a marvelous overview of the chief issues. This volume assembles many of the best contributions by contemporary philosophers, and will serve as an excellent textbook in relevant courses. I expect it will also be an important stimulus to further research.” <i>George Wilson, University of Southern California</i></p>

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