Abstract

ABSTRACT Films are usually assumed to be types, with their templates or performances being tokens of those types. However, I give a counter-example in which two different films are simultaneously made by different directors, with the outcome of this process being a single template length of film which, I claim, embodies both of those films. But no two types could thus have a token in common, and hence type views of films must be incorrect. I further explain and defend the legitimacy of the example, and conclude by offering an alternative, representational view of the nature of films that can also more adequately explain the interpretive nature of experience of a film.