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Cinema and Possible Worlds: A Philos...

Broad, Lisa K.

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Cinema and Possible Worlds: A Philosophy of Film.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Cinema and Possible Worlds: A Philosophy of Film./
作者:	Broad, Lisa K.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
面頁冊數:	218 p.
附註:	Source: Dissertation Abstracts International, Volume: 78-05(E), Section: A.
Contained By:	Dissertation Abstracts International78-05A(E).
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10192250
ISBN:	9781369331288

Cinema and Possible Worlds: A Philosophy of Film.
Broad, Lisa K.

Cinema and Possible Worlds: A Philosophy of Film. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 218 p.

Source: Dissertation Abstracts International, Volume: 78-05(E), Section: A.

Thesis (Ph.D.)--New York University, 2016.

In Cinema and Possible Worlds: A Philosophy of Film , I lay the groundwork for a theory of cinematic representation based on the philosophical notion of possible worlds. My dissertation sheds new light on central film theoretical concepts like diegesis, realism, genre, and spectatorial engagement, while also providing new tools and methodologies for the analysis and interpretation of individual film texts.

ISBN: 9781369331288Subjects--Topical Terms:

2122736
Film studies.

Cinema and Possible Worlds: A Philosophy of Film.
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500 $a Source: Dissertation Abstracts International, Volume: 78-05(E), Section: A.
500 $a Adviser: Richard Allen.
502 $a Thesis (Ph.D.)--New York University, 2016.
520 $a In Cinema and Possible Worlds: A Philosophy of Film , I lay the groundwork for a theory of cinematic representation based on the philosophical notion of possible worlds. My dissertation sheds new light on central film theoretical concepts like diegesis, realism, genre, and spectatorial engagement, while also providing new tools and methodologies for the analysis and interpretation of individual film texts.
520 $a The introductory chapter unpacks Gregory Currie's criteria for an analytic philosophy of film and surveys some of the ways in which modal concepts have figured into existing theories of film and fiction -- most notably, Warren Buckland's influential account of the relationship between possible worlds and computer-generated images.
520 $a The first chapter provides an introduction to modal philosophy and to the major ontological theories of possible worlds, before turning to an extended consideration of David Lewis's theory of fictional truth. Applying Lewis's insights and analyses to the process of film interpretation provides insight into the content and composition of cinematic worlds, while illuminating the cinema's extra-textual ties to the actual world and the complex intertextual relationships that obtain between works.
520 $a The second chapter interrogates the connection between the perceptual and ontological realism of the cinematic image and its capacity to vividly depict fictional and hypothetical states of affairs. Drawing on Kendall Walton's transparency thesis and Robert Hopkins's concept of collapsed photographic experience, I propose that cinema's capacity to simulate an intimate phenomenological connection with fictional worlds and events makes it a powerful vehicle for the visualization of alternative realities. Expanding on this analysis, I discuss the impact of computer-generated images on spectatorial experience and on the relationship between cinema and possibility.
520 $a The third chapter focuses on the structural dimension of possible worlds and its implications for the film theoretical understanding of film form, realism, and genre. After introducing the model of logical space developed by Saul Kripke, I argue that the fictional worlds of individual films can be productively reconceived as miniature modal universes. This approach has the potential to facilitate the analysis of complex narratives and to illuminate the interplay between objective and subjective modes of representation. Next, I examine cinematic realism and genre in light of the relationship between fictional worlds and the actual world and formulate a case study that explores the link between modal compatibility, realism, and hierarchies of critical evaluation.
520 $a My dissertation concludes with a brief identification of areas for further research. In particular, I propose that my possible-worlds-based approach to film analysis has the potential to aid moving-image scholars in the analysis and interpretation of multimedia franchises and expanded textual universes, nonfiction films, television series, and video games.
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