Download e-book for kindle: A Philosophy of the Screenplay by Ted Nannicelli

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By Ted Nannicelli

ISBN-10: 0415521440

ISBN-13: 9780415521444

Recently, students in numerous disciplines―including philosophy, movie and media experiences, and literary studies―have turn into drawn to the aesthetics, definition, and ontology of the screenplay. To this finish, this quantity addresses the basic philosophical questions about the character of the screenplay: what's a screenplay? Is the screenplay art―more particularly, literature? what sort of a specific thing is a screenplay? Nannicelli argues that the screenplay is one of those artefact; as such, its obstacles are made up our minds jointly through screenwriters, and its ontological nature is decided jointly through either writers and readers of screenplays. Any believable philosophical account of the screenplay has to be strictly limited by way of our collective inventive and appreciative practices, and needs to realize that these practices point out that at the least a few screenplays are artworks.

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45 A central one is that from the fact that some concepts cannot be defined, or that art (or any other concept) What Is a Screenplay? 25 has not yet successfully been defined, it certainly does not follow that art (or any other concept) is indefinable. Similarly, from the fact that not all concepts are classically structured, it does not follow that none are; from the fact that some kinds do not have essences, it does not follow that none do. I shall say something more about this presently. First, though, I want raise one other objection and say something about the family-resemblance approach.

27 How, in this account, could screenplay-hood be understood independently of the concept of screenplay? Instead, I want to attempt to formulate an intentional–historical definition. Another reason for preferring this route to the institutional route stems from a crucial fact illuminated by the previous discussion: screenplays are artifacts—the products of intentional human activity. 55 Jerrold Levinson and Noël Carroll are the best-known advocates of intentional–historical approaches, but they have developed substantively different proposals.

Lou’s intention in creating this object, however, is really just to tell a story. She has no intention of it serving a function in the film production process or even suggesting the constitutive elements of a potential or imaginary film, for she does not know what a film is. And yet, despite this, Lou seems to have a robust and largely accurate idea of what a screenplay is and seems to have succeeded in creating one. The intentional– historical part of the definition gives us a way of acknowledging that what Lou creates counts as a screenplay in virtue of its intended connection to prior screenplays.

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A Philosophy of the Screenplay by Ted Nannicelli


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