Film, Art, and Filmart

Informationen zum Autor Michael D. Dahnke is clinical Assistant Professor of health and society programs at Drexel University and Adjunct Professor of Philosophy at St. Joseph's University and The College of New Jersey. Klappentext This work is a basic introduction to aesthetics and covers the major theories of art, while referring to various filmic examples to illustrate the complex ideas related to the philosophy of art. In addition, it addresses film itself as an art form, analyzes film studies, and discusses film's ambiguous cultural/artistic position.The overarching theme of the book is the most basic aesthetic question: What is art? That eternal and critical question is explored by addressing representation, formalism, and expressivism, three classic aesthetic theories. Film, Art, and Filmart begins by focusing on Plato, including a look at the issue of censorship as it is raised in his Republic. Then formalism is discussed via Kant, and Roger Fry's and Clive Bell's theory of Significant Form. Expressivism is dealt with by utilizing views by Leo Tolstoy and R.G. Collingwood. Contemporary issues in aesthetics are illuminated with George Dickie's theory of art, while also examining the cognitive theories of Nelson Goodman and Martha Nussbaum. The final chapter opens definitional structure up a bit by investigating the concept of freedom as integral to art and by straying from the largely analytic focus of the rest of the book through analysis of continental philosophers, such as Hegel, Nietzsche, and Foucault. Inhaltsverzeichnis Part 1 Preface Chapter 2 Introduction: What is Art? Chapter 3 Art as Representation Chapter 4 Plato and Censorship Chapter 5 Plato: Art as Mimesis Chapter 6 Social Realism Chapter 7 Art as Form Chapter 8 Kant Chapter 9 Significant Form Chapter 10 Problems with Significant Form Chapter 11 Realism and Formalism in Film Theory Chapter 12 Formalism and Realism in Practice Chapter 13 Formalism! Realism! and the "Real" World Chapter 14 Art as Expression Chapter 15 Tolstoy Chapter 16 R.G. Collingwood Chapter 17 Problems with Expressivism Chapter 18 Art as an Insitution Chapter 19 George Dickie's New Approach Chapter 20 Problems with Institutional Theory Chapter 21 Art as Knowledge Chapter 22 Goodman's Cognitivism Chapter 23 Nussbaum and Moral Knowledge Chapter 24 Problems with Cognitivism Chapter 25 Conclusions Chapter 26 A Brief Excursus on High/Low Art Chapter 27 Art as Freedom Chapter 28 Art and Freedom: The Enlightenment to 1900 Chapter 29 Kant: Art and Creative Genius Chapter 30 Hegel: The Art of Consciousness Chapter 31 Nietzsche: Art as a Lie Chapter 32 Foucault: Aesthetics of Existence Part 33 Filmography Part 34 Bibliography ...

Auteur

By Michael D. Dahnke

Texte du rabat

This work is a basic introduction to aesthetics and covers the major theories of art, while referring to various filmic examples to illustrate the complex ideas related to the philosophy of art. In addition, it addresses film itself as an art form, analyzes film studies, and discusses film's ambiguous cultural/artistic position. The overarching theme of the book is the most basic aesthetic question: What is art? That eternal and critical question is explored by addressing representation, formalism, and expressivism, three classic aesthetic theories. Film, Art, and Filmart begins by focusing on Plato, including a look at the issue of censorship as it is raised in his Republic. Then formalism is discussed via Kant, and Roger Fry's and Clive Bell's theory of Significant Form. Expressivism is dealt with by utilizing views by Leo Tolstoy and R.G. Collingwood. Contemporary issues in aesthetics are illuminated with George Dickie's theory of art, while also examining the cognitive theories of Nelson Goodman and Martha Nussbaum. The final chapter opens definitional structure up a bit by investigating the concept of freedom as integral to art and by straying from the largely analytic focus of the rest of the book through analysis of continental philosophers, such as Hegel, Nietzsche, and Foucault.

Contenu

Part 1 Preface Chapter 2 Introduction: What is Art? Chapter 3 Art as Representation Chapter 4 Plato and Censorship Chapter 5 Plato: Art as Mimesis Chapter 6 Social Realism Chapter 7 Art as Form Chapter 8 Kant Chapter 9 Significant Form Chapter 10 Problems with Significant Form Chapter 11 Realism and Formalism in Film Theory Chapter 12 Formalism and Realism in Practice Chapter 13 Formalism, Realism, and the "Real" World Chapter 14 Art as Expression Chapter 15 Tolstoy Chapter 16 R.G. Collingwood Chapter 17 Problems with Expressivism Chapter 18 Art as an Insitution Chapter 19 George Dickie's New Approach Chapter 20 Problems with Institutional Theory Chapter 21 Art as Knowledge Chapter 22 Goodman's Cognitivism Chapter 23 Nussbaum and Moral Knowledge Chapter 24 Problems with Cognitivism Chapter 25 Conclusions Chapter 26 A Brief Excursus on High/Low Art Chapter 27 Art as Freedom Chapter 28 Art and Freedom: The Enlightenment to 1900 Chapter 29 Kant: Art and Creative Genius Chapter 30 Hegel: The Art of Consciousness Chapter 31 Nietzsche: Art as a Lie Chapter 32 Foucault: Aesthetics of Existence Part 33 Filmography Part 34 Bibliography