1,721,032 research outputs found
The Birth of a Notation: Myths and Histories of Digital Cinema
No full textDoes the digital turn introduce a total discontinuity in the history
of cinema? André Gaudreault and Philip Marion (2015) claim that
it does and provide an argument in favour of such “total discontinuity”
view. In this paper, I shall reject their argument by debunking
one of its premises. I shall then consider an alternative perspective,
the “continuity view” proposed by philosophers such as Berys Gaut
(2010) and David Davies (2011), who argue that the digital turn does
not break the history of cinema. Finally, I shall find middle ground
between the continuity view and the total discontinuity view, arguing
that although the digital turn does not involve a total discontinuity
in the way films are made by filmmakers and seen by spectators, it
significantly changes the way films travel, as it were, from filmmakers
to spectators
Imagination and Perception in Film Experience
No full textReporting one’s experience of the film Alien, one might say that one saw Warrant
Officer Ellen Ripley fighting the monster, but one might also say that one imagined
Ripley fighting the monster. This paper aims to figure out the experience that the
verbs “to see” and “to imagine” characterize in such reports. For this purpose, I first
introduce four requirements for an account of film experience. Secondly, I examine
the main theses on the role of imagination and perception in film experience, arguing
that none of them satisfies all the requirements. Thirdly, I propose a new thesis
according to which the spectator of a fiction film imagines being a subject of a different
kind, namely, a disembodied subject of experience who can perceive events that
occur in a world in which that subject has no place. I argue that this thesis satisfies
all the requirements
- …
