Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting the monster but (...) one might also say that one imagined Ripley fighting the monster. Are these two reports compatible? If they are, how can we combine them so to make sense of them? If, instead, they are not, which of them should we give up? (shrink)

When I see a tree through my window, that particular worldly tree is said to be ‘in’, ‘on’, or ‘before’ my mind. My ordinary visual link to it is ‘intentional’. How similar to this link are the links between me and particular worldly trees when I see them in photographs, or in paintings? Are they, in some important sense, links of the same kind? Or are they links of importantly different kinds? Or, as a third possibility, are they at once (...) links of the same important kind and also links of importantly different sub-kinds within that kind? This paper takes up these taxonomical questions. After fleshing out (a bit) the characterisation of these different subject-object links, I explain and expand upon an approach to answering the taxonomical questions originally set out by Kendall Walton. I then follow this approach a certain distance, connecting it with the question of how to mark the boundary between perception and cognition. My investigations support the conclusion that the three types of links just described are not importantly different in kind. (shrink)

[full article, abstract in English; only abstract in Lithuanian] Walton’s thesis of transparency of photographs has spurred much dispute among critics. One of the popular objections is spatial agnosticism, an argument that concerns the inertia of egocentric spatial information vis-a-vis a photograph. In this paper, I argue that spatial agnosticism fails. Spatial agnostics claim, for a wrong reason, that a photographic image cannot carry egocentric spatial information. I argue that it is the disjuncture of the photographic world in which the (...) depicted object situated from the space in which the viewer of the photograph resides that renders the photograph spatially agnostic. It is the timeless photographic world rather than the photographic object that renders egocentric spatial information inert. With this new formulation of spatial agnosticism, I propose that spatial agnosticism needs to be coupled with the temporal dimension in the efforts to refute the thesis of transparency of photographs. (shrink)

The thesis that in order to genuinely think about a particular object one must be (in some sense) acquainted with that object has been thoroughly explored since it was put forward by Bertrand Russell. Recently, the thesis has come in for mounting criticism. The aim of this paper is to point out that neither the exploration nor the criticism have been sensitive to the fact that the thesis can be interpreted in two different ways, yielding two different principles of acquaintance. (...) One principle uses the notion of content in distinguishing genuine thinking-about things from a merely derivative kind of thinking-about things. The other principle is quiet about content, focusing instead on a distinction between satisfactional and non-satisfactional means of bringing things into thought. Most work has focused on the first, content-based principle of acquaintance. But criticisms of this principle do not apply straightforwardly to the non-content-based principle. I shall argue that the latter principle merits independent assessment as part of the broader effort to account for genuine thinking about particular objects. In the final section of the paper, I will sketch a roadmap for this assessment. (shrink)

I distill three somewhat interrelated approaches to the ethical criticism of humor: (1) attitude-based theories, (2) merited-response theories, and (3) emotional responsibility theories. I direct the brunt of my effort at showing the limitations of the attitudinal endorsement theory by presenting new criticisms of Ronald de Sousa’s position. Then, I turn to assess the strengths of the other two approaches, showing that that their major formulations implicitly require the problematic attitudinal endorsement theory. I argue for an effects-mediated responsibility theory , (...) holding that the strongest ethical criticism that can be made of our sense of humor is that it might indicate some omission on our part. This omission could only be culpable in so far as a particular joke could do harm to oneself or others. In response to Ted Cohen’s doubts that such a mechanism of harm is forthcoming, I argue that the primary vehicle of the harmful effects of humor is laughter. (shrink)

Movies have a striking aesthetic power: they can draw us in and induce a peculiar mode of involvement in their images – they absorb us. While absorbed in a movie, we lose track both of the passage of time and of the fact that we are sitting in a dark room with other people watching the play of light upon a screen. What is the source of the power of movies? Noël Carroll, who cites Maurice Merleau-Ponty as an influence on (...) his account of the power of movies, agrees with Merleau-Ponty that our perceptual experience of movies draws on many of the capacities at work in our perceptual experience of everyday situations. Yet Merleau-Ponty’s account of perception shows that Carroll’s emphasis on intellectual inference and the entertaining of unasserted thoughts is a distortion of the phenomenology of cinematic absorption. According to Merleau-Ponty, such intellectual operations come into play in cases of breakdown but should not be read back into the primary absorbed experience as being implicitly operative all along. After presenting and criticizing Carroll’s view, I interpret and expand upon Merleau-Ponty’s position, showing that his version of the analogy between cinematic perception and everyday perception is more convincing than Carroll’s. (shrink)

This paper extends Claudia Card's account of agency in the face of moral luck in order to theoretically ground the activities of feminist mothers who endeavor to raise responsible human beings. The paper addresses those who mother in gray areas—areas where mothers are victims of the evils of the institution of motherhood while having authority and influence over their children. -/- .

In this paper, I explore the nature of photographs by comparing them to hand-made paintings, as well as by comparing traditional film photography with digital photography, and I concentrate on the question of realism. Several different notions can be distinguished here. Are photographs such that they depict the world in a 'realist' or a 'factive' way ? Do they show us the world as it is with accuracy and reliability other types of pictures don't posses ? Do they allow us, (...) as some have suggested, to literally see the world through them ? Below, I will distinguish three kinds of realism about photographs, reject two, and partly endorse one. Indeed, the label "realism", when concerning photographs, can stand for a variety of very different claims. The first (and quite obvious) distinction to start with concerns what the realist thesis is about : the claim that somehow photographs are more accurate or more reliable or that they somehow depict the world better than hand-made pictures can be a claim about the photographic image itself or alternatively a claim about the way in which photographs are produced. In the former case, realism is a thesis about how photographs look and what sort of information they contain, while in the latter case realism is a claim about the process of production of photographs. It is the latter claim that is the most discussed in the philosophical literature about photography. I will concentrate on this type of realism, of which I shall examine two varieties. (shrink)

This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, Kendall (...) Walton, Gregory Currie, Jonathan Cohen and Aaron Meskin, Noël Carroll, and Patrick Maynard in some detail. Specific topics addressed include: aesthetic scepticism, transparency, imagination, perception, information, representation and depiction. (shrink)

Everyday (mis)uses of deepfakes define prevailing conceptualizations of what they are and the moral stakes in their deployment. But one complication in understanding deepfakes is that they are not photographic yet nonetheless manipulate lens-based recordings with the intent of mimicking photographs. The harmfulness of deepfakes, moreover, significantly depends on their potential to be mistaken for photographs and on the belief that photographs capture actual events, a tenet known as the transparency thesis, which scholars have somewhat ironically attacked by citing digital (...) imaging techniques as counterexamples. Combining these positions, this paper sets out two core points: (1) that conceptions about the nature of photography introduce imperatives about its uses; and (2) that popular cultural understandings of photography imply normative ideas that infuse our encounters with deepfakes. Within this, I further raise the question of what moral ground deepfakes occupy that allows them to have such a potentially devastating effect. I show that answering this question involves reinstating the notion that photographs are popularly conceived of as transparent. The rejoinder to this argument, however, is that to take the sting out of deepfakes we must, once again, become skeptical of the veracity of all images, including photoreal ones. This kind of critical mindedness was warranted before the invention of photography for both pictorial imprints and written accounts from various media sources. Given this, along with the fact that photographic trickery is nothing new, deepfakes need not push us into a post-truth epistemic abyss, for they imply a decidedly old turn. (shrink)

A common view in the philosophy of perception holds that states of seeing objects face to face have particular contents. When you see, say, a dog face to face, your visual state represents the particular dog that is in front of you. In this paper, I argue for a related claim about states of seeing objects in conventional photographs. When you see a dog in a photograph, for example, your visual state represents the particular dog that was in front of (...) the camera when the photograph was taken, that is, the photograph's depictum. The argument in this paper proceeds in two steps. In the first step, I discuss states of seeing objects face to face. I argue that such a state represents the particular object whose surface is responsible for the optical information that the visual system uses to construct the state's attributive representational content. In the second step, I apply the result of this discussion to states of seeing objects in photographs. I argue that a state of seeing an object in a photograph has a particular content that represents the object that was in front of the camera when the photograph was taken. (shrink)

Kendall Walton argues that photographs are transparent; we literally see the things depicted in them, not just the depictions. This intriguing claim has endured numerous criticisms from those I call the ‘egocentrists’, according to whom seeing—literal seeing—requires the conveyance of egocentric information; to count as seeing something, a visual experience of that thing must impart some information, however spare, about its position relative to the viewer. Since photographs fail to convey such information, the egocentrists claim, Walton’s transparency thesis fails. This (...) paper considers several ways this egocentric condition on seeing has been developed and shows that none of them is persuasive. Seeing, I argue, does not require the conveyance of egocentric information. As such, and barring other problems, Walton’s transparency thesis stands. The paper closes with a speculative discussion of the kinds of empirical and action-guiding considerations that motivate egocentrism. (shrink)

The concept of suture has long been an important and controversial concept in investigations of the relationships between narrative, diegesis, character, and spectator. The dominant understanding of suture has paid more attention to its Lacanian derivation – and to the account given by Daniel Dayan – than to the work of Jean-Pierre Oudart which first introduced suture into Film Studies. This article, however, follows the recent work of George Butte, who argues that the way Oudart understands suture is very illuminating (...) for the study of the complex forms of intersubjectivity that cinema so readily, and so richly, dramatises – famously by means of shot/reverse shot figures. It argues that certain key moments in Ridley Scott's Alien activate ideas of corporeality, desire, and intersubjectivity in ways that contribute to a wider thematic and figurative nexus at work in the film directed at the exploration of impossible intersubjectivities. The article also proposes that, via this nexus, the film offers an intriguing instantiation of Nietzsche's notion of the “human, all too human”, thereby demonstrating that there is much more in Nietzsche of relevance to Alien than the xenomorph's superhuman “will-to-power”. The android Ash's admiration for the alien's lack both of conscience and consciousness ironically indicates his own all-too-human recognition of the superfluity but inescapability of his own consciousness. The article concludes by drawing briefly on the work of Stanley Cavell on acknowledgment, proposing that much of the horror of Alien lies not only in how bodies are ruptured but in the fact that some subjectivities cannot even be sutured. (shrink)

What aesthetic interest do we have in watching films? In a much debated paper, Roger Scruton argued that this interest typically comes down to the interest in the dramatic representations recorded by such films. Berys Gaut and Catharine Abell criticized Scruton’s argument by claiming that films can elicit an aesthetic interest also by virtue of their pictorial representation. In this article, we develop a different criticism of Scruton’s argument. In our view, a film can elicit an aesthetic interest that does (...) not come down to an interest in the dramatic representation or in the pictorial representation. We will argue that this is a distinctively cinematic interest. In section I we outline Scruton’s argument. In section II we point out an interest in how the cinematic medium presents the portrayed subject as detached from the spectator’s environment. In section III, by referring to Wittgenstein’s account of the contemplation from outside, we contend that the interest in films introduced in section II can count as an aesthetic interest. In section IV we argue that both documentaries and fiction films can elicit this kind of interest. In section V we compare the three different kinds of aesthetic interest that, in our view, a film can elicit. In section VI we describe the corresponding kinds of cinematic achievements. (shrink)

The documentary film is a popular curriculum tool, and the goal of this paper is to expand the educational significance of the documentary genre I argue that current understandings of this genre are limited and limiting, and offer an alternative perspective on the genre. This alternative will be built from Stanley Cavell’s philosophy of education, in particular, his understanding of the role that ‘representativeness’ plays in teaching and learning.

In this article, I first consider the metaphysics of musical recordings: their variety, repeatability, and transparency. I then turn to evaluative or aesthetic issues, such as the relative virtues of recordings and live performances, in light of the metaphysical discussion.

The view that allegiance to characters is a matter of general moral assessment, as developed by Carroll (1984) and Smith (1995), has the resources to respond to counterexamples proposed in the literature, including appeals to anti-heroes, rough heroes and other ‘reprehensible characters’ that garner our allegiance. It can even admit non-moral factors as subterranean influences on moral assessment. Nevertheless, the view requires that the characters we most favour are those with the highest moral standing, and this does not seem to (...) be true of the character arc story (Kelly, 2020). Rather, the mixture of good and bad impulses in the protagonist is set off by the unalloyed moral example of the moral centre, a supporting character whose fate may barely interest us. We conclude that narrative theory is better served by allowing the moral hierarchy of a story to differ from the rank order of its allegiances, and hence that audience affiliation is not simply a matter of moral assessment. (shrink)

The Audience Effect. On the Collective Cinema Experience HANICHJULIAN edinburgh university press. 2017. pp. 256. £19.99.

I argue that we can see in a great many cases that run counter to common sense. We can literally see through mirrors, in just the same way that we see through our eyes. We can, likewise, literally see through photographs, shadows, and paintings. Rather than starting with an analysis of seeing, I present a series of evolving thought experiments, arguing that in each case there is no relevant difference between it and the previous case regarding whether we see. In (...) a sense, my arguments can be thought of as akin to the Extended Mind Hypothesis. But instead of arguing that our minds can extend into the world, I argue that our sensory organs can extend into the world. Among the things that emerge from this discussion are that—contrary to Currie and Carroll —seeing an object O doesn’t require being able to locate O with respect to yourself, that—contrary to Sorensen —we can see objects by seeing their shadows, and that—contrary to Walton —it doesn’t matter whether the causal relation between O and yourself is mediated by beliefs. (shrink)

When one visits Thailand, one is struck by the enormous number of temples in the urban Bangkok area, many of which are conspicuously absent from the more cherished art historical works on the art and architecture of south-east Asia. The Wat Po complex and Wat Reitmit, one discovers, whatever their virtues for the Western tourist, are not among the temples and archaeological sites mentioned in the text of such an authority as Benjamin Rowland. Nor are these temples—when cited at all—discussed (...) in the same vein as, for example, the Konarak temples of Orissa , where at least some veneration is paid to the plasticity of the carving in its depiction of sexual variety, even if the depictions themselves were at one time held to possess little or no intrinsic merit as pieces of sculpture. (shrink)

Mindreading, simulation, empathy and central imagining are often used interchangeably in current analytic philosophy, and typically defined as imagining what the other wants and believes – to run these states “off-line.” By imagining the other’s beliefs and desires, one will come to understand and predict his emotional and behavioural reactions. Many have suggested that films may trigger engagement in the characters’ perspectives, and one finds similar use of these terms in film theory. Imagining the characters’ states – with emphasis on (...) mental states – has for example been labelled as central imagining (Choi 2005; Smith 1995), imagining from the inside (Smith 1997), and empathetic reenactment (Currie 1995). In a similar vein, understanding the meaning of a narrative event for a character is understood as empathy (Tan 1996). These accounts all point to ways in which the spectator understands the character and the situation the character is in. Nevertheless, one also finds a different use of the term empathy in film theory, namely as a matching feeling with the character. The emphasis here is not on understanding the character and the narrative situation, but on the emotional output of the process. Often automatic, hardwired affective matching mechanisms are emphasized. This matching feeling with the character has also been discussed as empathy (Grodal 1997; Plantinga 1999; Smith 1995). While all these authors discuss what makes a spectator experience aspects of a character’s state, they point to different kinds of character engagement, and discuss it using varying terms. There also seems to be disagreement as to how film may cue the spectator to engage in these different ways. Here I offer an integrative account of empathy, where all these processes are labelled as empathic. The differences and similarities between them are explored. I argue that, broadly speaking, there are two different kinds of film, each of which elicits its own kind of empathy. Nevertheless, the common core to these kinds of engagement in a character justifies us in calling them empathy. (shrink)

TV series are gaining increasing attention in current research. However, their aesthetic potential for visualizing ethical issues and both forming and facilitating collective inquiry into democratic values has not yet been fully appreciated. Because of their format (weekly/seasonal regularity, home viewing) and the participatory qualities of Internet usage (tweeting, chat forums), series allow for a new form of education by expressing complex issues through narrative and characters. This education is both political and moral. This topical issue elucidates the power, diversity, (...) and richness of TV series and their moral and political purpose. TV series provide common reference points, which populate ordinary conversations and political debates. They become shared representations of moral reasoning and feelings. They arouse ethical reflection in their viewers – in the spirit of philosophy. (shrink)

Film is frequently employed in philosophy classes to illustrate philosophical themes. I argue that making short films or videos in the philosophy classroom can also be a valuable learning exercise for philosophy students. One such assignment, focused on showing the relevance of philosophy to everyday issues, is described and defended here. The exercise is valuable both as a way to clarify the character of philosophical inquiry and its connection to life, and also because questions about film as a medium relate (...) directly to concerns of the major traditional branches of philosophy. (shrink)