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  1. What a documentary is, after all.Carl Plantinga - 2005 - Journal of Aesthetics and Art Criticism 63 (2):105–117.
    Carl Plantinga; What a Documentary Is, After All, The Journal of Aesthetics and Art Criticism, Volume 63, Issue 2, 15 April 2005, Pages 105–117, https://doi.org.
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  • Nonfiction Theater.Susan L. Feagin - 2022 - Journal of Aesthetics and Art Criticism 80 (1):4-15.
    Are there nonfiction genres of theater scripts, just as there are nonfiction genres of film, such as documentary, and of literature, such as biography and history? I propose that there are, and that Verbatim Theater qualifies as a nonfiction theater genre. What sets it apart is that it is supposed to instruct performers not merely to reenact, or represent, a series of events, but overall to present evidence or arguments for a thesis, or for the audience to draw their own (...)
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  • (1 other version)Documentaries, Docudramas, and Perceptual Beliefs.Enrico Terrone - 2020 - Journal of Aesthetics and Art Criticism 78 (1):43-56.
    The main accounts of the documentary in contemporary analytic aesthetics have difficulties in dealing with the distinction between documentaries and docudramas. On the one hand, the assertion-based accounts proposed by Carroll, Ponech and Plantinga cannot properly differentiate documentaries from docudramas. On the other hand, Currie’s account can do so by relying on the notion of trace but this involves an undesirable side-effect, namely, the exclusion, from the documentary, of those documentaries that do not include traces of their subjects, as for (...)
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  • Machines for Living: Philosophy of Technology and the Photographic Image.Ryan Wittingslow - 2014 - Dissertation, University of Sydney
    This dissertation examines the relationship that exists between two distinct and seemingly incompatible bodies of scholarship within the field of contemporary philosophy of technology. The first, as argued by postmodern pragmatist Barry Allen, posits that our tools and what we make with them are epistemically important; disputing the idea that knowledge is strictly sentential or propositional, he claims instead that knowledge is the product of a performance that is both superlative and artefactual, rendering technology importantly world-constituting. The second, as argued (...)
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  • (1 other version)Documentaries, Docudramas, and Perceptual Beliefs.Enrico Terrone - 2020 - Journal of Aesthetics and Art Criticism 78 (1):43-56.
    The main accounts of the documentary in contemporary analytic aesthetics have difficulties in dealing with the distinction between documentaries and docudramas. On the one hand, the assertion-based accounts proposed by Noël Carroll, Trevor Ponech, and Carl Plantinga cannot properly differentiate documentaries from docudramas. On the other hand, Gregory Currie's account can do so by relying on the notion of trace, but this involves an undesirable side effect, namely, the exclusion, from the documentary, of those documentaries that do not include traces (...)
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