A Philosophy of the Screenplay
Nonfiction, Religion & Spirituality, Philosophy, Aesthetics, Art & Architecture, General Art, Art Technique, Fiction & Literature, Literary Theory & Criticism
| Author: | Ted Nannicelli | ISBN: | 9781135085414 |
| Publisher: | Taylor and Francis | Publication: | January 17, 2013 |
| Imprint: | Routledge | Language: | English |
| Author: | Ted Nannicelli |
| ISBN: | 9781135085414 |
| Publisher: | Taylor and Francis |
| Publication: | January 17, 2013 |
| Imprint: | Routledge |
| Language: | English |
Recently, scholars in a variety of disciplines—including philosophy, film and media studies, and literary studies—have become interested in the aesthetics, definition, and ontology of the screenplay. To this end, this volume addresses the fundamental philosophical questions about the nature of the screenplay: What is a screenplay? Is the screenplay art—more specifically, literature? What kind of a thing is a screenplay? Nannicelli argues that the screenplay is a kind of artefact; as such, its boundaries are determined collectively by screenwriters, and its ontological nature is determined collectively by both writers and readers of screenplays. Any plausible philosophical account of the screenplay must be strictly constrained by our collective creative and appreciative practices, and must recognize that those practices indicate that at least some screenplays are artworks.
Recently, scholars in a variety of disciplines—including philosophy, film and media studies, and literary studies—have become interested in the aesthetics, definition, and ontology of the screenplay. To this end, this volume addresses the fundamental philosophical questions about the nature of the screenplay: What is a screenplay? Is the screenplay art—more specifically, literature? What kind of a thing is a screenplay? Nannicelli argues that the screenplay is a kind of artefact; as such, its boundaries are determined collectively by screenwriters, and its ontological nature is determined collectively by both writers and readers of screenplays. Any plausible philosophical account of the screenplay must be strictly constrained by our collective creative and appreciative practices, and must recognize that those practices indicate that at least some screenplays are artworks.
