David Miller elegantly and provocatively reformulates critical rationalism—the revolutionary approach to epistemology advocated by Karl Popper—by answering its most important critics. He argues for an approach to rationality freed from the debilitating authoritarian dependence on reasons and justification. "Miller presents a particularly useful and stimulating account of critical rationalism. His work is both interesting and controversial... of interest to anyone with concerns in epistemology or the philosophy of science." —Canadian Philosophical Reviews.

What is film? Why are movies important? Why do we care about them in the way we do? How do we think of the connections between the projected image and what it is actually an image of? Most movie-goers assume that they are entitled to make jugments and come to conclusions about the movies they see--to evaluate how "good" they are, or what they "mean." But what do they base, or what should they base, their judgments on? In this thought-provoking (...) new book, Stanley Cavell, a professor of philosophy and aesthetics at Harvard who has long taken a lively interest in movies, looks closely at these and other questions concerning America's most popular art and the perceptions we make of, by, and through it. His answers are surprising and important--not only to our understanding of film and of ourselves, but to our expectations of life and art. Mr. Cavell's explorations of some of Hollywood's stars, directors, and most famous films--as well as his fresh look at Godard, Bergman, and other great European directors--will be of lasting interest to movie-viewers and intelligent people of all ages. (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

The A.W. Mellon lectures in the fine arts 1956, National Gallery of Art, Washington.

A selection of essays written by one of the leading critics of film over the last two decades, this volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding a new (...) approach. (shrink)

A philosophical study of popular movies uses the viewer as a point of reference.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Examines the overlap between film and philosophy in three distinct ways: epistemological issues in film-making and viewing; aesthetic theory and film; and film as a medium of philosophical expression. This title available in eBook format. Click here for more information . Visit our eBookstore at: www.ebookstore.tandf.co.uk.

In Film and Phenomenology, Allan Casebier develops a theory of representation first indicated in the writings of the father of phenomenology, Edmund Husserl, and then applies it to the case of cinematic representation. This work provides one of the clearest expositions of Husserl's highly influential but often obscure thought. It also demonstrates the power of phenomenology to illuminate the experience of the art form unique to the twentieth-century cinema. Film and Phenomenology is intended as an antidote to all hitherto existing (...) theories about the nature of cinematic representation, whether issuing from classic sources such as the film theory of Andre Bazin or the post-structuralist synthesis of Lacanian psychoanalysis, Barthesian textual analysis and Metzean cine-semiotics. Casebier shows how a phenomenological account of representation will further the aims of any film theory. Developing a viable feminist film theory, legitimizing the documentary, answering the challenge of Derridean deconstruction, properly theorizing narrativity, Film and Phenomenology argues that theory of film must be Realist both with respect to epistemology and ontological issues. In this way, this work runs contrary to the whole course of contemporary film theory which has been deeply anti-Realist. (shrink)

In 1993 and 1994, The New York Review of Books published two tenaciously argued essays by Frederick Crews attacking Freudian psychoanalysis and its aftermath in the so-called recovered memory movement. The first reviewed a growing body of evidence indicating that Freud doctored his data and manipulated his colleagues in an effort to consolidate a cult-like following that would neither defy nor upstage him. The second, published in two parts, challenged the scientific and therapeutic claims of the rapidly growing recovered memory (...) movement, maintaining that its social effects have been devastating. Crews traced that movement to Freudian precedent - not just to Freud's abandoned "seduction theory" but also to the most essential assumptions of psychoanalysis itself. The response was tremendous: issues flew off the stands, and therapists, patients, scholars, philosophers, and others whose lives had been touched by Freud's ideas responded in one of the largest waves of letters the Review had ever seen. Twenty-five of these were published, with Crews's deft and forceful replies. Most are gathered here, together with Crews's original essays, a new introduction describing the genesis of his pieces, and an epilogue considering the debate and its reverberations. The result is a fierce, contentious, and startling book that rocks the foundations of one of the century's governing ideas. (shrink)

Paul Weiss continues the brilliant analysis of art he began in _The World of Art _and _Nine Basic Arts_—here_ _in the medium of film, at which he takes a close and inde­pendent look. Writing in a vigorous, jargon-free style, and covering all aspects of films and film making, Mr. Weiss presents a fresh, new approach to the study of our newest art. During the course of writing _Cinematics_,_ _Mr. Weiss asked various writers, critics, scholars, and producers long involved with film (...) to read and remark on what he had written. Five of them—Eric Sherman, Joseph Williman, Arthur Knight, David Slavitt, and Robert Thom—provided comments which are incorporated in the text. Their remarks are often trenchant, and perceptively provocative. These men frequently comment on lines of inquiry suggested in the book and often take issue with what has been said. The result is a kind of dialogue crisscrossed with stimu­lating insights. While this book is aimed at the general reader, Mr. Weiss hopes that experts and practitioners of film making will benefit from this fresh, independent, and philo­sophically based inquiry. Readers already familiar with Mr. Weiss’s writings will delight in this distillation of his thought on an art so intimately a part of our cul­ture. (shrink)