| Author: | Noel Carroll | ISBN: | 9780300133073 |
| Publisher: | Yale University Press | Publication: | October 1, 2008 |
| Imprint: | Yale University Press | Language: | English |
| Author: | Noel Carroll |
| ISBN: | 9780300133073 |
| Publisher: | Yale University Press |
| Publication: | October 1, 2008 |
| Imprint: | Yale University Press |
| Language: | English |
Noël Carroll, a brilliant and provocative philosopher of film, has gathered in this book eighteen of his most recent essays on cinema and television-what Carroll calls moving images.” The essays discuss topics in philosophy, film theory, and film criticism.
Drawing on concepts from cognitive psychology and analytic philosophy, Carroll examines a wide range of fascinating topics. These include film attention, the emotional address of the moving image, film and racism, the nature and epistemology of documentary film, the moral status of television, the concept of film style, the foundations of film evaluation, the film theory of Siegfried Kracauer, the ideology of the professional western, and films by Sergei Eisenstein and Yvonne Rainer. Carroll also assesses the state of contemporary film theory and speculates on its prospects. The book continues many of the themes of Carroll’s earlier work Theorizing the Moving Image and develops them in new directions. A general introduction by George Wilson situates Carroll’s essays in relation to his view of moving-image studies.
Noël Carroll, a brilliant and provocative philosopher of film, has gathered in this book eighteen of his most recent essays on cinema and television-what Carroll calls moving images.” The essays discuss topics in philosophy, film theory, and film criticism.
Drawing on concepts from cognitive psychology and analytic philosophy, Carroll examines a wide range of fascinating topics. These include film attention, the emotional address of the moving image, film and racism, the nature and epistemology of documentary film, the moral status of television, the concept of film style, the foundations of film evaluation, the film theory of Siegfried Kracauer, the ideology of the professional western, and films by Sergei Eisenstein and Yvonne Rainer. Carroll also assesses the state of contemporary film theory and speculates on its prospects. The book continues many of the themes of Carroll’s earlier work Theorizing the Moving Image and develops them in new directions. A general introduction by George Wilson situates Carroll’s essays in relation to his view of moving-image studies.
