In their thoughtful study of one of Stanley Cavell's greatest yet
most neglected books, William Rothman and Marian Keane address this
eminent philosopher's many readers, from a variety of disciplines,
who have neither understood why he has given film so much
attention, nor grasped the place of The World Viewed within the
totality of his writings about film.
Rothman and Keane also reintroduce The World Viewed to the field
of film studies. When the new field entered universities in the
late 1960s, it predicated its legitimacy on the conviction that the
medium's artistic achievements called for serious criticism and on
the corollary conviction that no existing field was capable of the
criticism film called for. The study of film needed to found
itself, intellectually, upon a philosophical investigation of the
conditions of the medium and art of film. Such was the challenge
The World Viewed took upon itself. However, film studies opted to
embrace theory as a higher authority than our experiences of
movies, divorcing itself from the philosophical perspective of
self-reflection apart from which, The World Viewed teaches, we
cannot know what movies mean, or what they are.
Rothman and Keane now argue that the poststructuralist theories
that dominated film studies for a quarter of a century no longer
compel conviction, Cavell's brilliant and beautiful book can
provide a sense of liberation to a field that has forsaken its
original calling. Read in a way that acknowledges its philosophical
achievement, The World Viewed can show the field a way to move
forward by rediscovering its passion for the art of film.
Reading Cavell's The World Viewed will prove invaluable to
scholars and students offilm and philosophy, and to those in other
fields, such as literary studies and American studies, who have
found Cavell's work provocative and fruitful.
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