By Katherine Thomson-Jones
Of specific curiosity are questions about the unique representational capacities of movie artwork, quite on the subject of realism and narration, the effect of the literary paradigm in knowing movie authorship and interpretation, and our creative and affective engagement with movie.
For all of those questions, Katherine Thomson-Jones significantly compares the main compelling solutions, riding domestic key issues with quite a lot of movie examples together with Wiene's The cupboard of surgeon Caligari, Eisenstein's October, Hitchcock's Rear Window, Kubrick's The Shining and Sluizer's The Vanishing. scholars and students of aesthetics and cinema will locate this an illuminating, available and hugely stress-free research into the character and tool of a technologically evolving paintings form.
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But if nothing else, Currie's view about film motion forces us to a new awareness of the grounds of the commonsense illusion view. Such, an awareness is invalu able given the increasing diversification of technological means for generating the impression of motion in film. 39 CHAPTER 3 AUTHORS H I P In Chapters 1 and 2 , we learnt that photographically-based film has dis tinctive capacities for artistically significant effects like representation, expression, formal play and realism. We might, therefore, assume that someone who creatively exploits these capacities is a film artist.
Imagine instead, Currie suggests, that it is an omnipotent and omnibenevolent god that feeds all of us our visual experiences. Even though our visual experiences are mediateq in this case, could we not still say that we see, thanks to the complete reliability of our source of visual experiences? Leaving this question aside, Walton comes up himself with a case that shows that natural dependence is not sufficient, on its own, for trans parency. He asks us to imagine a machine which is sensitive to the light reflected by an object such that it accurately records the object, but as a verbal description rather than as a picture.
At present, however, it appears that Walton's slope is even more slippery than his critics have assumed. Given just how slip pery, perhaps it is best not to step onto the slope in the first place. This brings us to Currie's classification of photographs as natural representa tions. Currie agrees with Walton's emphasis on the difference between what Currie calls the natural counterfactual dependence of photographs and the intentional counterfactual dependence of paintings. Whereas the appearance of a painting of something actual depends on the appearance of that thing only insofar as the painter's beliefs are similarly dependent, the appearance of a photograph depends on the appearance of its object regardless of what the photographer believes.