Interpretation of Films and Their Relationship with Philosophy
1. In “The Long Goodbye: The Imaginary Language of Film”, Gregory Currie argues that “the project of explaining our comprehension of cinema on the model of our comprehension of language cannot succeed”, making the case that our ability to comprehend uncontroversial examples of a language such as English depends on certain basic, defining features that all languages share, features that do not correspond to the features of film that allow us to understand it. (218). Explain what Currie means and the reasons he gives to support this claim. Is Currie right that we cannot explain our comprehension of film by regarding it as a language? Why or why not? In explaining his account, please consider the visual means by which we understand the Wachowski sisters’ The Matrix. Give some consideration, too, to whether Bazin’s discussion of how film communicates in “The Evolution of the Language of Film” provides any substantial reasons for rejecting Currie’s thesis or is, instead, compatible with it. Your answer should focus on Currie.
2. In “Reality Remade”, Nelson Goodman argues that “realism is relative, determined by the system of representation” (37). Explain what Goodman means and how he supports this claim. Is Goodman right? Why, or why not? In discussing his account, be sure to consider how well this view helps us to understand the dialogue, shooting, and other filmic choices made in Carole Reed’s The Third Man. In supporting your conclusion, give some consideration, too, to whether Bazin’s account in “The Ontology of the Photographic Image” of different kinds realism in painting and photography provides support for Goodman’s account or instead raises objections to it. Your answer should focus on Goodman.
3. In “Beyond Mere Illustration: How Films Can Be Philosophy”, Thomas Wartenberg argues that film can be philosophy, explaining “how Modern Times could be both an illustration of a philosophical theory and yet also a site of deep thinking on the mechanization of the human under capitalism” (30). Explain the central arguments Wartenberg offers to show films can provide philosophical illustrations, including how he uses Modern Times as an example. Is Wartenberg right that films can be philosophy? Why or why not? In responding to Wartenberg, please give some consideration to whether Maurice Merleau-Ponty’s claim in “The Film and the New Psychology” that “Kant’s remark that, in knowledge imagination serves the understanding, whereas in art the understanding serves imagination is profound one” provides good grounds to reject Wartenberg’s claim on the basis that philosophical ideas in film are more likely to engage the imagination than the understanding. (57) Your answer should focus on Wartenberg.
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Communication and Media
* In "Reality Remade," Nelson Goodman argues that "realism is relative, determined by the system of representation" (37). Explain what Goodman means and how he supports this claim. Is Goodman, right? Why, or why not? In discussing his account, consider how well this view helps us understand the dialogue, shooting, and other film choices made in Carole Reed's The Third Man. In supporting your conclusion, give some consideration, too, to whether Bazin’s account in “The Ontology of the Photographic Image” of different kinds of realism in painting and photography provides support for Goodman’s account or instead raises objections to it. Your answer should focus on Goodman.
Answer
Goodman’s argument on whether realism is relative is challenged on several grounds. First, there is an overall argument that the realistic representation system is not just a customary one, simply because as the artistic styles evolve, spectators become less accustomed to more innovative techniques and subjects than they are to the ones replaced or modified (Boardman 43). As such, if Goodman’s claim were valid, the artistic style could never be more realistic, especially in the eyes of a spectator living in that time.
Secondly, Goodman has exaggerated the way visual experiences are modified by art. For example, Oscar Wilde once claimed that there had never been fog in London until it appeared in Turner’s painting. The reality is, writers had for many years described optical effects long, even before writers found ways to represent them. Historical examples such as spinning on chariot-wheel were characterized by a Latin poet named Prudential many years before Velazquez captured the effect in painting.
Thirdly, while the art we see can modify our visual habits and influence the resemblance perceived to some point, it is not guaranteed that realism cannot exist in fidelity to nature. The growth of scientific knowledge has allowed us to refine our observations about natural phenomena in the recent past. In return, these observations have prompted us to test scientific theories (Boardman 43). As such, the concept of resemblance and fidelity to nature appears vague and highly metaphorical in its explanation of realism, and that "realistic" art proceeds solely from specific methods, values, and viewpoints, not less than other kinds of art.
More so, confusion exists further in as much as realism is concerned partly because the term realism refers to various period styles, including those of renaissance art, medieval, French painting in the 19th century, among others. An ideal decision that needs clarification is understanding realism in both subject matter and teaching (Hyman 2005). Realism in subject matter is simply about the choice of subject matter and preferred manner of treatment. Realistic art will represent lower social classes comic as opposed to tragic, and daily life as opposed to myths.
Finally, many philosophers abandoned the argument that realism can be defined in terms of fidelity to nature and instead preferred defining realism in technique terms; specifically, the quantity of information recorded in an image or the overall quality of salient information is the ideal measure of realistic art. Like in Carole Reed's "The Third Man" and Bazin's account in "The Ontology of the Photographic Image," the technique of realism is best described in three characteri...