By Ted Nannicelli
Recently, students in various 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 on the character of the screenplay: what's a screenplay? Is the screenplay art―more in particular, literature? what sort of something is a screenplay? Nannicelli argues that the screenplay is a type of artefact; as such, its obstacles are made up our minds jointly by way of screenwriters, and its ontological nature is set jointly by way of either writers and readers of screenplays. Any believable philosophical account of the screenplay needs to be strictly limited through our collective artistic 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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Extra info for A Philosophy of the Screenplay
58 On this account of artifacts, for something to count as a screenplay, it would have to be successfully created with the intention that it belonged to the same kind or category of things as do current or previous screenplays. As Levinson points out, however, it seems extremely implausible that artifacts (besides artworks) have only intentional and historical necessary conditions. Whereas, on Levinson’s account, just about anything—including Brillo boxes or a messy bed—can be art now, there still seem to be at least some basic requirements about form or function for other artifacts—as indicated by the “success condition” of Bloom’s proposal.
48 As Noël Carroll summarizes, “Of course, if a definition of art precludes artistic experimentation, that is a problem. But it is a problem with the particular definition in question, not with the very idea of defining art itself. ”49 Inasmuch as Weitz’s family-resemblance approach depends upon his antiessentialist argument, it immediately seems like a non-starter if we doubt the plausibility of anti-essentialism. ”50 But if one denies the anti-essentialist argument here, one also denies the family resemblance claim.
17 For Levinson, art’s internal historicism involves all three of these putative facts. In contrast, although Carroll also thinks that the concept of art is historical in a special sense, he differs from Levinson in important respects. ”19 Moreover, in contrast to Levinson’s third claim, Carroll suggests that the kind of historicity essential to art is not exclusive to it; rather, art is essentially historical in the same way any cultural practice that evolves is essentially historical. Thus, whereas Levinson draws an explicit distinction between the internal historicism of art and the external historicism of all other cultural entities, Carroll makes an implicit distinction not between art and other cultural entities but rather between cultural practices and other entities.
A Philosophy of the Screenplay by Ted Nannicelli