Film, aesthetics of

DOI: 10.4324/9780415249126-M022-1
Version: v1,  Published online: 1998
Retrieved June 15, 2024, from

References and further reading

  • Arnheim, R. (1958) Film as Art, London: Faber & Faber.

    (A translation of essays written in German between 1933 and 1938. An antirealist statement from the first period.)

  • Aumont, J. (1989) ‘The Point of View’, trans. A. Denner, Quarterly Review of Film and Video 11: 1–22.

    (On the supposed subjectivity of the camera.)

  • Bazin, A. (1967) What is Cinema?, vol. 1, trans. H. Gray, Berkeley, CA, and Los Angeles, CA: University of California Press. A translation of selected essays from Qu-est-ce que le cinéma?, 4 vols, Paris: Éditions du Cerf, 1958–65.

    (The classic statement of realism.)

  • Bordwell, D. and Carroll, N. (1995) Post-Theory: Reconstructing Film Studies, Madison, WI: University of Wisconsin Press.

    (A collection of writings by philosophers and theorists opposed to the dominant models of the second period.)

  • Carroll, N. (1988) Philosophical Problems of Classical Film Theory, Princeton, NJ: Princeton University Press.

    (A useful discussion of expressionist and realist tendencies.)

  • Carroll, N. (1990) Mystifying Movies, Ithaca, NY: Cornell University Press.

  • Cavell, S. (1971) The World Viewed, New York: Viking Press.

    (A statement of the realist view.)

  • Currie, G. (1995) Image and Mind. Film, Philosophy, and Cognitive Science, New York: Cambridge University Press.

    (A theory of film which rejects semiotic and psychoanalytic models in favour of Anglo-American philosophy of mind and cognitive science.)

  • Metz, C. (1977) Le signifiant imaginaire. Psychoanalyse et cinéma, Paris: Union Générale d’Éditions; trans. C. Britton et al., The Imaginary Signifier, Bloomington, IN: Indiana University Press, 1982.

    (Represents a semiotician’s turn to psychoanalytic and especially Lacanian ideas.)

  • Mulvay, L. (1976) ‘Visual Pleasure and Narrative Cinema’, Screen 16, reprinted in G. Mast, M. Cohen and L. Braudy (eds).

    (An account of the viewer’s relation to the screen image, influenced by Lacan.)

  • Nichols, B. (1976, 1985) Movies and Methods, 2 vols, Berkeley and Los Angeles, CA: University of California Press.

    (An anthology in which Marxist, semiotic and feminist perspectives are well represented.)

  • Ogle, P. (1972) ‘Technological and Aesthetic Influences on the Development of Deep-Focus Cinematography in the United States’, Screen 13, reprinted in Nichols (ed.), vol. 2.

    (A historical account of deep-focus style.)

  • Wilson, G. (1986) Narration in Light, Baltimore, MD, and London: Johns Hopkins University Press.

    (This work by a philosopher develops an account of narration in film through close analysis of five films.)

Citing this article:
Currie, Gregory. Bibliography. Film, aesthetics of, 1998, doi:10.4324/9780415249126-M022-1. Routledge Encyclopedia of Philosophy, Taylor and Francis,
Copyright © 1998-2024 Routledge.

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