Now showing items 1-7 of 7
KING KONG, Carroll and Currie: Misconstruing Monstrously How We See Things by Means of Movies
Two confusions have vitiated recent philosophical discussions about filmmaking: the presumption of Nöel Carroll that discrimination entails essentialism and the presumption of both Carroll and Gregory Currie that we cannot ...
On Mathematics, Music and Film
An early attempt by the author to comprehend the nature, scope and limits of the constraints on the possibilities of 'colour music'. (Thesis submitted in the Spring of 1968 in partial fulfillment of the requirements for ...
Santayana's Missing Pages: Learning by Recollecting How We Use Photographs
Sometime between 1900 and 1907 George Santayana addressed the Harvard Camera Club on 'Photography and the Mental Image', noting that his remarks seemed to him 'of some importance'. They were indeed, for his talk marked the ...
Pudovkin's Precept: Coherence, Kant and 'Temporal Concentration'
In 1926, Vsevolod Pudovkin solved the fundamental problem of film design. More exactly, he showed filmmakers how to select and order the parts of a movie (its shots, scenes and sequences of them) to ensure that viewers can ...
Pudovkin, Kant and the Principle of Perceptual Coherence
In 1926 Vsevolod Pudovkin, while making his first feature film, articulated a precept crucial to understanding how powerful movies are made. He did so by assimilating unwittingly the core of Kant's principle of experiential ...
Kant at the La Ciotat Station: the Arrival of the Lumière's Train
In 1787 Immanuel Kant published a second edition of his Critique of Pure Reason. Within a new preface he reaffirmed an identity that his critics had failed to comprehend: we and God encounter things differently rather than ...
Filmmaking, Logic and the Historical Reconstruction of the World
An assessment in historical context of how and what filmmakers, logicians and philosophers could have learned from one another about the rudiments of their crafts.