Noël Carroll and film : a philosophy of art and popular culture / Mario Slugan.
By: Slugan, Mario.Material type: TextSeries: Film thinks.Publisher: London [etc] : Bloomsbury Academic, 2019Description: 218 str. ; 23 cm.Subject(s): ART / Criticism & Theory | PERFORMING ARTS / Film / History & Criticism | PHILOSOPHY / Aesthetics | SOCIAL SCIENCE / Popular Culture | Carroll, Noël | filmski teoretičari | teorija filma | popularna kultura
|Item type||Current location||Collection||Call number||Status||Date due||Barcode||Item holds|
|Knjiga||Knjižnica FFZG 4. kat, komparativna književnost||Komparativna književnost||EC16.1 SLU N (Browse shelf)||Available||1305258894|
Bibliografske bilješke. - Bibliografija: str. 201-211. - Kazalo
1. Institutional context :
The relative lack of influence of Carrol's work on film studies
The institutional reasons behind Carroll's relative lack of influence
Carroll's work on ideology
2. Film theory :
Contra medium specificity
Against monolithic theories
Cognitivism as piecemeal theorising
3. Assessment of theory :
4. Analytic and cognitivist debates :
The moving image definition
Implicit fictional film narrators
5. Interpretation and filmmaking :
Interpretation and theoretical commitments
What is interpretation?
From interpretation to theory
6. Philosophy of art :
The philosophies of arts
Affective responses to art
Noel Carroll is one of the most prolific, widely-cited and distinguished philosophers of art, but how, specifically, has cinema impacted his thought? This book, one of the first in the acclaimed 'Film Thinks' series, argues that Carroll's background in both cinema and philosophy has been crucial to his overall theory of aesthetics. Often a controversial figure within film studies, as someone who has assertively contested the psychoanalytic, semiotic and Marxist cornerstones of the field, his allegiance to alternative philosophical traditions has similarly polarised his readership.
Mario Slugan proposes that Carroll's defence of the notions of truth and objectivity provides a welcome antidote to 'anything goes' attitudes and postmodern scepticism towards art and popular culture, including film. Carroll's thinking has loosened the grip of continental philosophers on cinema studies - from Maurice Merleau-Ponty to Gilles Deleuze and Jacques Lacan - by turning to cognitive and analytical approaches. Slugan goes further to reveal that Carroll's methods of evaluation and interpretation in fact, usefully bridge gaps between these `opposing' sides, to look at artworks anew. Throughout, Slugan revisits and enriches Carroll's definitions of popular art, mass art, horror, humour and other topics and concludes by tracing their origins to this important thinker's relationship with the medium of cinema.