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This book makes fascinating connections between the ways in which
contemporary television serials cue cognitive operations, solicit
emotional responses, and elicit aesthetic appreciation The
discussions in this book will have much to add to debates on the
emotional and cognitive effects of television dramas on their
audiences, and thus larger questions of what should or should not
be represented on screen The chapters explore a number of questions
including: - How do the particularities of form and style in
contemporary serial television engage us cognitively, emotionally,
and aesthetically? - How do they foster cognitive and emotional
effects such as feeling suspense, anticipation, surprise,
satisfaction, and disappointment? - Why and how do we value some
serials while disliking others? - What is it about the
particularities of serial television form and style, in conjunction
with our common cognitive, emotional, and aesthetic capacities,
that accounts for serial television's cognitive, socio-political,
and aesthetic value, and its current ubiquity in popular culture?
This book will appeal to postgraduates and scholars working in
television studies as well as film studies, cognitive media theory,
media psychology, and the philosophy of art
Contemporary television has been marked by such exceptional
programming that it is now common to hear claims that TV has
finally become an art. In Appreciating the Art of Television,
Nannicelli contends that televisual art is not a recent
development, but has in fact existed for a long time. Yet despite
the flourishing of two relevant academic subfields-the philosophy
of film and television aesthetics-there is little scholarship on
television, in general, as an art form. This book aims to provide
scholars active in television aesthetics with a critical overview
of the relevant philosophical literature, while also giving
philosophers of film a particular account of the art of television
that will hopefully spur further interest and debate. It offers the
first sustained theoretical examination of what is involved in
appreciating television as an art and how this bears on the
practical business of television scholars, critics, students, and
fans-namely the comprehension, interpretation, and evaluation of
specific televisual artworks.
Across the academy, scholars are debating the question of what
bearing scientific inquiry has upon the humanities. The latest
addition to the AFI Film Readers series, Cognitive Media Theory
takes up this question in the context of film and media studies.
This collection of essays by internationally recognized researchers
in film and media studies, psychology, and philosophy offers film
and media scholars and advanced students an introduction to
contemporary cognitive media theory-an approach to the study of
diverse media forms and content that draws upon both the methods
and explanations of the sciences and the humanities. Exploring
topics that range from color perception to the moral appraisal of
characters to our interactive engagement with videogames, Cognitive
Media Theory showcases the richness and diversity of cognitivist
research. This volume will be of interest not only to students and
scholars of film and media, but to anyone interested in the
possibility of a productive relationship between the sciences and
humanities.
Recently, scholars in a variety of disciplines-including
philosophy, film and media studies, and literary studies-have
become interested in the aesthetics, definition, and ontology of
the screenplay. To this end, this volume addresses the fundamental
philosophical questions about the nature of the screenplay: What is
a screenplay? Is the screenplay art-more specifically, literature?
What kind of a thing is a screenplay? Nannicelli argues that the
screenplay is a kind of artefact; as such, its boundaries are
determined collectively by screenwriters, and its ontological
nature is determined collectively by both writers and readers of
screenplays. Any plausible philosophical account of the screenplay
must be strictly constrained by our collective creative and
appreciative practices, and must recognize that those practices
indicate that at least some screenplays are artworks.
Contemporary television has been marked by such exceptional
programming that it is now common to hear claims that TV has
finally become an art. In Appreciating the Art of Television,
Nannicelli contends that televisual art is not a recent
development, but has in fact existed for a long time. Yet despite
the flourishing of two relevant academic subfields-the philosophy
of film and television aesthetics-there is little scholarship on
television, in general, as an art form. This book aims to provide
scholars active in television aesthetics with a critical overview
of the relevant philosophical literature, while also giving
philosophers of film a particular account of the art of television
that will hopefully spur further interest and debate. It offers the
first sustained theoretical examination of what is involved in
appreciating television as an art and how this bears on the
practical business of television scholars, critics, students, and
fans-namely the comprehension, interpretation, and evaluation of
specific televisual artworks.
Recently, scholars in a variety of disciplines-including
philosophy, film and media studies, and literary studies-have
become interested in the aesthetics, definition, and ontology of
the screenplay. To this end, this volume addresses the fundamental
philosophical questions about the nature of the screenplay: What is
a screenplay? Is the screenplay art-more specifically, literature?
What kind of a thing is a screenplay? Nannicelli argues that the
screenplay is a kind of artefact; as such, its boundaries are
determined collectively by screenwriters, and its ontological
nature is determined collectively by both writers and readers of
screenplays. Any plausible philosophical account of the screenplay
must be strictly constrained by our collective creative and
appreciative practices, and must recognize that those practices
indicate that at least some screenplays are artworks.
Across the academy, scholars are debating the question of what
bearing scientific inquiry has upon the humanities. The latest
addition to the AFI Film Readers series, Cognitive Media Theory
takes up this question in the context of film and media studies.
This collection of essays by internationally recognized researchers
in film and media studies, psychology, and philosophy offers film
and media scholars and advanced students an introduction to
contemporary cognitive media theory-an approach to the study of
diverse media forms and content that draws upon both the methods
and explanations of the sciences and the humanities. Exploring
topics that range from color perception to the moral appraisal of
characters to our interactive engagement with videogames, Cognitive
Media Theory showcases the richness and diversity of cognitivist
research. This volume will be of interest not only to students and
scholars of film and media, but to anyone interested in the
possibility of a productive relationship between the sciences and
humanities.
This book investigates the interrelations between aesthetics,
ethics and politics in a variety of visual media forms, ranging
across art installations, film and television, interactive
documentaries, painting, photography, social media and videogames.
An international mix of emerging and established authors, with
interdisciplinary expertise, explores how different ethical
questions, political implications and aesthetic pleasures arise and
shape one another in distinct visual media.Investigating themes
such as the use of cinema as a medium for ethical and political
thought, how documentary subjects both conceal and reveal truth,
the new ethical challenges arising from interactive media and the
role of images in responding to political events and trauma, this
is a groundbreaking work about the interrelations of aesthetic,
ethical and political values in visual media.
Shows how aesthetic, ethical, and political questions intersect in
a range of art forms as found in traditional media Addresses key
aesthetic, ethical, and political questions in visual media
Examines contemporary films, television, photography, painting and
new visual media such as videogames, Facebook, and interactive
documentaries Offers an international mix of emerging and senior
authors with interdisciplinary expertise This book investigates the
interrelations between aesthetics, ethics and politics in a variety
of visual media forms, ranging across art installations, film and
television, interactive documentaries, painting, photography,
social media and videogames. An international mix of emerging and
established authors, with interdisciplinary expertise, explores how
different ethical questions, political implications and aesthetic
pleasures arise and shape one another in distinct visual media.
Investigating themes such as the use of cinema as a medium for
ethical and political thought, how documentary subjects both
conceal and reveal truth, the new ethical challenges arising from
interactive media and the role of images in responding to political
events and trauma, this is a groundbreaking work about the
interrelations of aesthetic, ethical and political values in visual
media.
Artistic Creation and Ethical Criticism, a study in philosophical
aesthetics, investigates an idea that underpins the ethical
criticism of art but that is rarely acknowledged and poorly
understood - namely, that the ethical criticism of art involves
judgments not only of the attitudes a work endorses or solicits,
but of what artists do to create the work. The book pioneers an
innovative production-oriented approach to the study of the ethical
criticism of art - one that will provide a detailed philosophical
account of the intersection of ethics and artistic creation as well
as conceptual tools that can guide future philosophizing and
criticism. Ted Nannicelli offers three arguments concerning the
ethical criticism of art. First, he argues that judgments of an
artwork's ethical value are already often made in terms of how it
was created, and examines why some art forms more readily lend
themselves to this form of ethical appraisal than others. He then
asserts that production-oriented evaluations of artworks are less
contested than other sorts of ethical criticism and so lead to
certain practical consequences-from censure, dismissal, and
prosecution to shifts in policy and even legislation. Finally,
Nannicelli defends the production-oriented approach, arguing that
it is not only tacit in many of our art appreciative practices, but
is in fact rationally warranted. There are many cases in which we
should ethically critique artworks in terms of how they are created
because this approach handles cases that other approaches cannot
and results in plausible judgments about the works' relative
ethical and artistic value. The concise, powerful arguments
presented here will appeal to moral philosophers, philosophers of
art and aesthetics, and critics interested in the intersection of
artistic production and criticism and ethics.
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