Medium Specificity in Film

Medium specificity is a theory, or rather a cluster of arguments, in aesthetics that rests on the idea that media are the physical material that makes up artworks, and that this material contains specific and unique features capable of 1) differentiating media from one another, and 2) determining the aesthetic potential and goals of each medium. As such, medium specificity is essential for aestheticians interested in matters of aesthetic ontology and value. However, as Noël Carroll has vehemently and convincingly argued, (...) the theory of medium specificity is inherently flawed and its many applications in art history ill-motivated. Famously, he concluded that we should ‘forget the medium’ entirely. In this thesis, I reject his conclusion and argue that reconstructing a theory of medium specificity, while taking Carroll’s objections into account, is possible. To do so, I offer a reconceptualization of the main theoretical components of medium specificity and ground this new theory in empirical research. I first redefine the medium not as the physical material that makes up artworks but as sets of practices – not the material itself but how one uses the material. I then show that what makes media specific and unique is not certain physical features, but the human responses, which can be empirically investigated, to the combination of practices that constitute media. This relation is one of response-dependence, albeit of a novel kind, which I develop by appealing to social metaphysics. The resulting theory is more complex but also much more flexible and fine-grained than the original and provides insight into a variety of current aesthetic theories. (shrink)

Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We are (...) right if we mean that the film does well what movies often do well. We are wrong if we mean that the film is good for doing what is merely distinctive of film. This issue has important implications for understanding the role of the medium in artistic evaluation. I argue that we should reject Gaut’s claim because it entails an implausibly strong medium specificity thesis. (shrink)

Attempts to bestow a musical background upon spoken drama have been deemed widely superfluous; most films, by way of contrast, do employ music. This aesthetic divergence invites an account of film music in terms of lack and compensation. The standard account in such terms, viz. that music has to fill the vacuum of silence, does not explain what it is supposed to explain. Rather, music in cinema can restore in a different way the expression lost as reality is reduced to (...) mere pictures. (shrink)