Image and mind: film, philosophy and cognitive science
This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated di...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cambridge [u.a.]
Cambridge Univ. Press
2008
|
| Ausgabe: | 1. publ., digitally printed version |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Zusammenfassung: | This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. |
| Beschreibung: | Literaturverz. S. 285 - 296 |
| Beschreibung: | XXIV, 301 S. |
| ISBN: | 0521057787 9780521453561 0521453569 9780521057783 |
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Datensatz im Suchindex
| _version_ | 1804137360756047872 |
|---|---|
| adam_text | Contents
її
ciai.
e
page
xi
Acknowledgements
xxi
Film,
1895-1995
xxiii
Introduction: the essence of cinema
1
1.1
Film as representation
2
1.2
Film and the visible
3
1.3
Degrees of inessentialness
6
14
The visible and the pictorial
7
1.5
Fictional pictures
9
1.6
Documentary and fiction
12
Part I Representation in film
Chapter
1
The myth of illusion
19
1.1
Transparency, likeness and
illusionism
19
1.2
Cognitive illusions
22
1.3
Film and dreaming
27
1.4
Perceptual
illusionism
28
1.5
The reality of cinematic images
30
1.6
On the motion of images
34
1.7
Two ways or three?
42
Chapter
2
The imprint of nature
48
2.1
Representational media and representational
arts
49
Contents
2.2
Presenting and representing
49
2.3
Photographs as evidence 52
2.4
Counterfactual dependence
53
2.5
Inconclusive arguments 5*>
2.6
The conditions for perception
61
2.7
Putting movement in the picture
69
2.8
The significance of similarity
7°
2.9
The aesthetics of photography 72
2.10
Photography, painting and the real
75
Chapter
3
Realism
79
3.1
Depictions
80
3.2
Natural generativity
88
3.3
Nondepictive representation in film and other
media
9°
3.4
Three kinds of temporality 92
3.5
Representing time by means of time
φ
3.6
Spatial representation
103
3.7
Realist film style
106
3.8
The relativity of likeness
108
Chapter
4
Languages of art and languages of film
113
4.1
Finding the thesis
114
4.2
Cinema language and natural language
117
4.3
The shape of natural language
120
4.4
Objections rejected
124
4.5
Interpretation and utterance meaning
126
4.6
Confusions about convention
128
4.7
Relations between images
134
4.8
A language of vision?
136
Part II Imagination
Chapter
5
Imagination, the general theory
141
5.1
Perspective shifts
142
5.2
Simulation
144
5.3
Fiction and two kinds of simulation
152
vm
Contents
5.4
Consequences
155
S-5
The dangers of imagining
162
Chapter
6
Imagination, personal and impersonal
164
6.1
The classical theory
165
6.2
Cinema, theatre and other visual fictions
168
6.3
Against imagining seeing
170
6.4
Impersonal imagining and film
179
6.5
Perceptual imagining
181
6.6
Clarifications and rebuttals
185
6.7
The myth of total cinema
19г
6.8
Psychologism
193
6.9
Iconic signs
196
Chapter
7
Travels in narrative time
198
7.1
Tense in film
198
7.2
The proper treatment of anachrony
206
7.3
Is
trás
revisionism?
216
Appendix: anachrony and ellipsis
219
Part III Interpretation
Chapter
8
The interpretive problem
225
8.1
Intersubjective
agreement and interpretive
principles
226
8.2
Terms and conditions
231
8.3
Interpreting behaviour and interpreting works
235
8.4
Interpreting works as interpreting behaviour
239
8.5
Real authors, implied authors
243
8.6
Why we still need intention
247
8.7
Interpretive deadlock and truth
249
8.8
The evidence for a cinematic interpretation
251
8.9
Implied author and
auteur
258
8.10
Structure and function
259
Chapter
9
Narrative and narrators
260
9.1
Implied authors and narrators
261
9.2
The asymmetry between literature and film
265
ix
Contents
9.3 Kinds
of unreliability
270
9.4
Ambiguous and unreliable narratives
272
In conclusion
281
Named propositions
283
Bibliography
285
Index
297
Paperback
Re-íssue
This is a book about the nature of film: about the nature of
moving images, about the viewer s relation to film and about
the kinds of narrative that film is capable of presenting. It rep¬
resents a decisive break with the
semiotic
and psychoanalytic
theories of film which have dominated discussion.
The central thesis is that film is essentially a pictorial
medium and that the movement of film images is real rather
than illusory. A general theory of pictorial representation is
presented which insists on the realism of pictures and the
impossibility of assimilating them to language. It criticizes
attempts to explain the psychology of film viewing in terms of
the viewer s imaginary occupation of a position within the
world of film. On the contrary, film viewing is nearly always
impersonal.
Gregory Currie provides a general theory of narration and
its interpretation in both pictorial and linguistic media, and
concludes with an analysis of some ways in which film narrative
and literary narrative differ.
|
| adam_txt |
Contents
її
ciai.
e
page
xi
Acknowledgements
xxi
Film,
1895-1995
xxiii
Introduction: the essence of cinema
1
1.1
Film as representation
2
1.2
Film and the visible
3
1.3
Degrees of inessentialness
6
14
The visible and the pictorial
7
1.5
Fictional pictures
9
1.6
Documentary and fiction
12
Part I Representation in film
Chapter
1
The myth of illusion
19
1.1
Transparency, likeness and
illusionism
19
1.2
Cognitive illusions
22
1.3
Film and dreaming
27
1.4
Perceptual
illusionism
28
1.5
The reality of cinematic images
30
1.6
On the motion of images
34
1.7
Two ways or three?
42
Chapter
2
The imprint of nature
48
2.1
Representational media and representational
arts
49
Contents
2.2
Presenting and representing
49
2.3
Photographs as evidence 52
2.4
Counterfactual dependence
53
2.5
Inconclusive arguments 5*>
2.6
The conditions for perception
61
2.7
Putting movement in the picture
69
2.8
The significance of similarity
7°
2.9
The aesthetics of photography 72
2.10
Photography, painting and the real
75
Chapter
3
Realism
79
3.1
Depictions
80
3.2
Natural generativity
88
3.3
Nondepictive representation in film and other
media
9°
3.4
Three kinds of temporality 92
3.5
Representing time by means of time
φ
3.6
Spatial representation
103
3.7
Realist film style
106
3.8
The relativity of likeness
108
Chapter
4
Languages of art and languages of film
113
4.1
Finding the thesis
114
4.2
Cinema language and natural language
117
4.3
The shape of natural language
120
4.4
Objections rejected
124
4.5
Interpretation and utterance meaning
126
4.6
Confusions about convention
128
4.7
Relations between images
134
4.8
A language of vision?
136
Part II Imagination
Chapter
5
Imagination, the general theory
141
5.1
Perspective shifts
142
5.2
Simulation
144
5.3
Fiction and two kinds of simulation
152
vm
Contents
5.4
Consequences
155
S-5
The dangers of imagining
162
Chapter
6
Imagination, personal and impersonal
164
6.1
The classical theory
165
6.2
Cinema, theatre and other visual fictions
168
6.3
Against imagining seeing
170
6.4
Impersonal imagining and film
179
6.5
Perceptual imagining
181
6.6
Clarifications and rebuttals
185
6.7
The myth of total cinema
19г
6.8
Psychologism
193
6.9
Iconic signs
196
Chapter
7
Travels in narrative time
198
7.1
Tense in film
198
7.2
The proper treatment of anachrony
206
7.3
Is
trás
revisionism?
216
Appendix: anachrony and ellipsis
219
Part III Interpretation
Chapter
8
The interpretive problem
225
8.1
Intersubjective
agreement and interpretive
principles
226
8.2
Terms and conditions
231
8.3
Interpreting behaviour and interpreting works
235
8.4
Interpreting works as interpreting behaviour
239
8.5
Real authors, implied authors
243
8.6
Why we still need intention
247
8.7
Interpretive deadlock and truth
249
8.8
The evidence for a cinematic interpretation
251
8.9
Implied author and
auteur
258
8.10
Structure and function
259
Chapter
9
Narrative and narrators
260
9.1
Implied authors and narrators
261
9.2
The asymmetry between literature and film
265
ix
Contents
9.3 Kinds
of unreliability
270
9.4
Ambiguous and unreliable narratives
272
In conclusion
281
Named propositions
283
Bibliography
285
Index
297
Paperback
Re-íssue
This is a book about the nature of film: about the nature of
moving images, about the viewer's relation to film and about
the kinds of narrative that film is capable of presenting. It rep¬
resents a decisive break with the
semiotic
and psychoanalytic
theories of film which have dominated discussion.
The central thesis is that film is essentially a pictorial
medium and that the movement of film images is real rather
than illusory. A general theory of pictorial representation is
presented which insists on the realism of pictures and the
impossibility of assimilating them to language. It criticizes
attempts to explain the psychology of film viewing in terms of
the viewer's imaginary occupation of a position within the
world of film. On the contrary, film viewing is nearly always
impersonal.
Gregory Currie provides a general theory of narration and
its interpretation in both pictorial and linguistic media, and
concludes with an analysis of some ways in which film narrative
and literary narrative differ. |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
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| dewey-search | 791.4301 |
| dewey-sort | 3791.4301 |
| dewey-tens | 790 - Recreational and performing arts |
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| discipline_str_mv | Allgemeines |
| edition | 1. publ., digitally printed version |
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| id | DE-604.BV023102137 |
| illustrated | Not Illustrated |
| index_date | 2024-07-02T19:45:05Z |
| indexdate | 2024-07-09T21:11:04Z |
| institution | BVB |
| isbn | 0521057787 9780521453561 0521453569 9780521057783 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016304850 |
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| physical | XXIV, 301 S. |
| publishDate | 2008 |
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| publisher | Cambridge Univ. Press |
| record_format | marc |
| spelling | Currie, Gregory 1950- Verfasser (DE-588)141214368 aut Image and mind film, philosophy and cognitive science Gregory Currie 1. publ., digitally printed version Cambridge [u.a.] Cambridge Univ. Press 2008 XXIV, 301 S. txt rdacontent n rdamedia nc rdacarrier Literaturverz. S. 285 - 296 This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. Film Philosophie Motion pictures Philosophy Film (DE-588)4017102-4 gnd rswk-swf Bild (DE-588)4006568-6 gnd rswk-swf Kognition (DE-588)4031630-0 gnd rswk-swf Philosophie (DE-588)4045791-6 gnd rswk-swf Film (DE-588)4017102-4 s Philosophie (DE-588)4045791-6 s DE-604 Bild (DE-588)4006568-6 s Kognition (DE-588)4031630-0 s Digitalisierung UB Regensburg application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016304850&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016304850&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | Currie, Gregory 1950- Image and mind film, philosophy and cognitive science Film Philosophie Motion pictures Philosophy Film (DE-588)4017102-4 gnd Bild (DE-588)4006568-6 gnd Kognition (DE-588)4031630-0 gnd Philosophie (DE-588)4045791-6 gnd |
| subject_GND | (DE-588)4017102-4 (DE-588)4006568-6 (DE-588)4031630-0 (DE-588)4045791-6 |
| title | Image and mind film, philosophy and cognitive science |
| title_auth | Image and mind film, philosophy and cognitive science |
| title_exact_search | Image and mind film, philosophy and cognitive science |
| title_exact_search_txtP | Image and mind film, philosophy and cognitive science |
| title_full | Image and mind film, philosophy and cognitive science Gregory Currie |
| title_fullStr | Image and mind film, philosophy and cognitive science Gregory Currie |
| title_full_unstemmed | Image and mind film, philosophy and cognitive science Gregory Currie |
| title_short | Image and mind |
| title_sort | image and mind film philosophy and cognitive science |
| title_sub | film, philosophy and cognitive science |
| topic | Film Philosophie Motion pictures Philosophy Film (DE-588)4017102-4 gnd Bild (DE-588)4006568-6 gnd Kognition (DE-588)4031630-0 gnd Philosophie (DE-588)4045791-6 gnd |
| topic_facet | Film Philosophie Motion pictures Philosophy Bild Kognition |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016304850&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016304850&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT curriegregory imageandmindfilmphilosophyandcognitivescience |