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Britt Harrison
University of Hertfordshire (PhD)
  1. Introducing Cinematic Humanism: A Solution to the Problem of Cinematic Cognitivism.Britt Harrison - 2019 - Croatian Journal of Philosophy 19 (2):331-349.
    A Cinematic Humanist approach to film is committed inter alia to the following tenet: Some fiction films illuminate the human condition thereby enriching our understanding of ourselves, each other and our world. As such, Cinematic Humanism might reasonably be regarded as an example of what one might call ‘Cinematic Cognitivism’. This assumption would, however, be mistaken. For Cinematic Humanism is an alternative, indeed a corrective, to Cinematic Cognitivism. Motivating the need for such a corrective is a genuine scepticism about the (...)
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  2.  73
    Review of Alexis Gibbs 'Seeing Education on Film: A Conceptual Aesthetics'.Britt Harrison - 2020 - Journal of the Philosophy of Education.
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  3. The Epistemology of Know-How.Britt Harrison - 2012 - Dissertation, University of Hertfordshire
    There is an as yet unacknowledged and incomparable contribution to the philosophical debates about know-how to be found in the writings of Ludwig Wittgenstein. It is sourced in his investigations into knowledge and certainty in On Certainty, though it is not limited to these late passages. Understanding the ramifications of this putative contribution (even if one does not agree with it) highlights the extent to which (i) there is now a new range of issues pertaining to know-how which no future (...)
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  4.  96
    Cinematic Humanism: Cinematic, Dramatic, and Humanistic Value in Fiction Films.Britt Harrison - 2022 - Dissertation, University of York
    Might fiction films have cognitive value, and if so, how might such value interact with films’ artistic and aesthetic values? Philosophical consideration of this question tends to consist in either ceteris paribus extensions of claims relating to prose fiction and literature; meta-philosophical inquiries into the capacity of films to be or do philosophy; or generalised investigations into the cognitive value of any, and thereby all, artworks. I first establish that fiction films can be works of art, then address this lacuna (...)
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