Film, art, and the third culture : a naturalized aesthetics of film /

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Bibliographic Details
Author / Creator:Smith, Murray, 1962- author.
Edition:First edition.
Imprint:Oxford ; New York, NY : Oxford University Press, 2017.
Description:xvi, 294 pages : illustrations ; 24 cm
Subject:Motion pictures -- Aesthetics.
Motion pictures -- Philosophy.
Motion pictures -- Aesthetics.
Motion pictures -- Philosophy.
Format: Print Book
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Notes:Includes bibliographical references and index.
Summary:In the mid-1950s C.P. Snow began his campaign against the 'two cultures' - the debilitating divide, as he saw it, between traditional 'literary intellectual' culture, and the culture of the sciences, urging in its place a 'third culture' which would draw upon and integrate the resources of disciplines spanning the natural and social sciences, the arts and the humanities. Murray Smith argues that, with the ever-increasing influence of evolutionary theory and neuroscience, and the pervasive presence of digital technologies, Snow's challenge is more relevant than ever. Working out how the 'scientific' and everyday images of the world 'hang' together is no simple matter. In Film, Art, and the Third Culture, Smith explores this question in relation to the art, technology, and science of film in particular, and to the world of the arts and aesthetic activity more generally. In the first part of his book, Smith explores the general strategies and principles necessary to build a 'third cultural' or naturalized approach to film and art - one that roots itself in an appreciation of scientific knowledge and method.
Table of Contents:
  • Acknowledgements
  • List of Figures
  • Introduction
  • Towards a Naturalized Aesthetics of Film
  • Art, Aesthetics, and Film
  • Things to Come
  • Part I. Building the Third Culture
  • 1. Aesthetics Naturalized
  • Naturalism, Knowledge, and Method
  • From Conceptual Analysis to Theory Construction: Three Cases
  • From Explanation to Understanding (and Back Again)
  • Perceptualism and Expansionism
  • From Causes to Reasons (and Back Again)
  • Beneath and Beyond Intention: In the Realm of the Subpersonal
  • From Thick Description to Thick explanation
  • No Ghosts Need Apply
  • 2. Triangulating Aesthetic Experience
  • Triangulation, the 'Natural Method'
  • Tracking Suspense
  • Fixing Empathy
  • The Brain and the Body
  • Behavioural Evidence, Social Cognition, and Critical Analysis
  • Neural Behaviourism
  • What Do I Know?
  • 3. The Engine of Reason and the Pit of Naturalism
  • Meet the Neurosceptics
  • Normative Panting
  • Startling Sounds and Sights
  • Mirror Thrills
  • So What?
  • 4. Papaya, Pomegranates, and Green Tea
  • Consciousness Analysed
  • Consciousness in the History of Film
  • Inside the Stream of Consciousness
  • Qualia and (Film) Art
  • Part II. Science and Sentiment
  • 5. Who's Afraid of Charles Darwin?
  • The Art of Film in the Age of Evolution
  • Facial Expression, Montage, and the Kuleshov Fallacy
  • Beyond the Basics
  • Evolution and the Aesthetic Sculpting of Emotional Expression
  • 6. What Difference does it Make?
  • Culture and Biology
  • The Emotions in Biocultural Perspective
  • An Example: Heimat and Emotion
  • Culture and Emotion
  • Emotions as Cultural Bridgeheads
  • 7. Empathy, Expansionism, and the Extended Mind
  • Personal Imagining, Empathy, and Sabpersonal Scaffolding
  • Empathy and the Extended Mind
  • Extension and Expansion
  • Empathy Stays in the Picture
  • 8. Feeling Prufish
  • Binding and Blending
  • The Role of Language
  • The Role of Narrative
  • The Critic's Share
  • The Art and Science of Emotion
  • Conclusion
  • Reconciling the Manifest and Scientific Images
  • Notes
  • Bibliography
  • Index