By Pauline Kael
Shrewdpermanent, humorous, and unforgettable, Pauline Kael is the main fascinating and influential movie critic in the United States. Her skill to skewer an actor or director and her wit, perception, and thorough wisdom of the movie company make her by way of a long way the main lucrative normal observer of the motion picture scene. This new assortment covers motion pictures that experience pop out because the earlier 1985 variation.
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Extra info for 5001 Nights at the Movies
Why is ﬁlm such a powerful medium – affecting so many, and at times intensely? What, if anything, is distinctive about ﬁlm or cinematic depiction as an art form? What is the philosophical signiﬁcance of the technique and technology ﬁlm employs? What is the philosophical signiﬁcance of audience responses to ﬁlm? What special beneﬁts and dangers can ﬁlm harbor given its mass appeal and (what may be the same thing) its ability to evoke strong emotion? What is ﬁlmic representation? Films are, in part, visual representations, but how should this be understood and what is its signiﬁcance?
In Thinking through Cinema: Films as Philosophy. Malden, MA: Blackwell, 1–9. , ed. (2002). Film and Knowledge: Essays on the Integration of Images and Ideas. Jefferson, NC: McFarland. Stone, Alan A. (2007). Movies and the Moral Adventure of Life. Cambridge, MA: MIT Press. Truffaut, François (1954). ” In Cahiers du cinema. Wartenberg, Thomas E. (2007). Thinking on Screen: Film as Philosophy. Basingstoke: Palgrave Macmillan. Wartenberg, Thomas E. (2009). , The Routledge Companion to Philosophy and Film.
The latter is hardly a surprise since the audience for movies dwarfs that for plays. A night at the 32 Philosophy and Film Spectatorship theatre is generally pretty expensive. Movies are relatively cheap (even if popcorn isn’t) and can often be watched for free. Lastly, we ought not to be too quick to accept the claim that movies can engage us more deeply than theatre as a fundamental truth about the two art forms. Powerful theatre affects us deeply indeed. Perhaps it is harder to achieve powerful effects in theatre than in ﬁlm, in part for the reasons Carroll identiﬁes – ﬁlmmakers have an easier time directing an audience’s attention than theatre directors do – but this is not yet a good explanation of why ﬁlms move us when they do.