_Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.

Philosophers often call emotions appropriate or inappropriate. What is meant by such talk? In one sense, explicated in this paper, to call an emotion appropriate is to say that the emotion is fitting: it accurately presents its object as having certain evaluative features. For instance, envy might be thought appropriate when one’s rival has something good which one lacks. But someone might grant that a circumstance has these features, yet deny that envy is appropriate, on the grounds that it is (...) wrong to be envious. These two senses of ‘appropriate’ have much less in common than philosophers have supposed. Indeed, the distinction between propriety and correctness is crucial to understanding the distinctive role of the emotions in ethics. We argue here that an emotion can be fitting despite being wrong to feel, and that various philosophical arguments are guilty of a systematic error which we term the moralistic fallacy. (shrink)

Titian's Rape of Europa is highly praised for its luminous colors and sensual textures. But the painting has an overlooked dark side, namely that it eroticizes rape. I argue that this is an ethical defect that diminishes the painting aesthetically. This argument-that an artwork can be worse off qua work of art precisely because it is somehow ethically problematic-demonstrates that feminist concerns about art can play a legitimate role in art criticism and aesthetic appreciation.

Can a moral defect be an artistic virtue? Can it make a positive contribution to artistic value? Further, if this can happen on occasion, does this imply that moral value has no systematic connection to artistic value since every conceivable relation between them is possible? The idea that moral defects can sometimes be artistic virtues has received a fair number of defenders recently and so has the anti-theoretical view that there is no systematic relation between artistic and moral value. But (...) I think immoralism—as the first of these views is called—is mistaken and I will try to show that no good reason has been offered to believe it. If immoralism is wrong, the anti-theoretical view at best devolves into moderate moralism—the idea that moral defects sometimes, but not always, are responsible for artistic defects. CiteULike Connotea Del.icio.us What's this? (shrink)

Immoralists hold that in at least some cases, moral fl aws in artworks can increase their aesthetic value. They deny what I call the valence constraint: the view that any effect that an artwork’s moral value has on its aesthetic merit must have the same valence. The immoralist offers three arguments against the valence constraint. In this paper I argue that these arguments fail, and that this failure reveals something deep and interesting about the relationship between cognitive and moral value. (...) In the fi nal section I offer a positive argument for the valence constraint. (shrink)

The long debate -- Aesthetics and ethics : basic concepts -- A conceptual map -- Autonomism -- Artistic and critical practices -- Questions of character -- The cognitive argument : the epistemic claim -- The cognitive argument : the aesthetic claim -- Emotion and imagination -- The merited response argument.

The (im)moral character of art works often affects how we respond to them. But should it affect our evaluation of them as art? The article surveys the contemporary debate whilst outlining further lines of argument and enquiry. The main arguments in favour of aestheticism, the claim that there is no internal relation between artistic value and moral character, are considered. Nonetheless the connection between art's instructional aspirations and artistic value, as well as the ways in which works solicit responses from (...) us, underwrite the claim that a work's moral character can be directly relevant to a work's value as art. Various competing accounts of how the relationship goes, ethicism, moderate moralism and immoralism, are considered. The article goes on to elaborate novel considerations in favour of a suitably qualified cognitive immoralism and suggests avenues of further enquiry with respect to the moral character of art works. (shrink)

Why does art matter to us, and what makes it good? Why is the role of imagination so important in art? Illustrated with carefully chosen colour and black-and-white plates of examples from Michaelangelo to Matisse and Poussin to Pollock, _Revealing Art_ takes us on a compelling and provocative journey. Kieran explores some of the most important questions we can ask ourselves about art: how can art inspire us or disgust us? Is artistic judgement simply a matter of taste? Can art (...) be immoral or obscene, and should it be censored? He brings such abstract issues to life with fascinating discussions of individual paintings, photographs and sculptures, such as Michelangelo's _Pieta_, Andres Serrano's _Piss Christ_ and Francis Bacon's powerful paintings of the Pope. He also suggests some answers to problems that any one in an art gallery or museum is likely to ask themselves: what is a beautiful work of art? and can art really reveal something true about our own nature? _Revealing Art _is ideal for anyone interested in debates about art today, or who has simply stood in front of a painting and felt baffled. (shrink)

The text of each poem is given in letterpress on the page facing the beautiful color reproductions of the plate. The book is printed on vellum.

Pedro Almodóvar is one of the most renowned film directors of recent years. Talk to Her is one of the most discussed and controversial of all his films. Dealing principally with the issue of rape, it also offers profound insights into the nature of love and friendship whilst raising important philosophical and moral questions in unsettling and often paradoxical ways. This is the first book to explore and address the philosophical aspects of Almodóvar’s film. Opening with a helpful introduction by (...) Noël Carroll that places the film in context, specially commissioned chapters examine the following topics: The relationship between art and morality and the problem of 'immoralism' Moral injury and its role in the way we form moral judgments, including the ethics of love and friendship The nature of dialogue, sexual objectification and what 'listening to' means in the context of gender Almodóvar's use of allusion and the unmasking of appearances to explore hidden themes in human nature. Including a biography of Almodóvar, Talk to Her is essential reading for students interested in philosophy and film as well as ethics and gender. It is also provides an accessible and informative insight into philosophy for those in related disciplines such as film studies, literature and religion. Contributors: Noël Carroll, A. W. Eaton, Cynthia Freeland, Robert B. Pippin, C.D.C. Reeve, and George M. Wilson. (shrink)