"Film Worlds" unpacks the significance of the "worlds" that
narrative films create, offering an innovative perspective on
cinema as art. Drawing on aesthetics and the philosophy of art in
both the continental and analytic traditions, as well as classical
and contemporary film theory, it weaves together multiple strands
of thought and analysis to provide new understandings of filmic
representation, fictionality, expression, self-reflexivity, style,
and the full range of cinema's affective and symbolic
dimensions.
Always more than "fictional worlds" and "storyworlds" on account
of cinema's perceptual, cognitive, and affective nature, film
worlds are theorized as immersive and transformative artistic
realities. As such, they are capable of fostering novel ways of
seeing, feeling, and understanding experience. Engaging with the
writings of Jean Mitry, Pier Paolo Pasolini, Christian Metz, David
Bordwell, Gilles Deleuze, and Hans-Georg Gadamer, among other
thinkers, "Film Worlds" extends Nelson Goodman's analytic account
of symbolic and artistic "worldmaking" to cinema, expands on French
philosopher Mikel Dufrenne's phenomenology of aesthetic experience
in relation to films and their worlds, and addresses the
hermeneutic dimensions of cinematic art. It emphasizes what both
celluloid and digital filmmaking and viewing share with the
creation and experience of all art, while at the same time
recognizing what is unique to the moving image in aesthetic terms.
The resulting framework reconciles central aspects of realist and
formalist/neo-formalist positions in film theory while also moving
beyond them and seeks to open new avenues of exploration in film
studies and the philosophy of film.
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