Download A Philosophy of the Screenplay by Ted Nannicelli PDF

By Ted Nannicelli

Recently, students in quite a few disciplines―including philosophy, movie and media reports, and literary studies―have develop into drawn to the aesthetics, definition, and ontology of the screenplay. To this finish, this quantity addresses the elemental 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 one of those artefact; as such, its barriers are made up our minds jointly via screenwriters, and its ontological nature is set jointly by means of either writers and readers of screenplays. Any believable philosophical account of the screenplay has to be strictly limited by means of our collective inventive and appreciative practices, and needs to realize that these practices point out that at the very least a few screenplays are artworks.

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1 I have claimed that the screenplay’s status as an artifact kind motivates the form of this definition—in particular, its emphasis on intentionality and history—and the goal of this chapter is to develop a supporting argument. If my definition is to stand, I must show that our concept of the screenplay is essentially historical in some relevant way and that certain successfully realized intentions determine and redraw the boundaries of the concept. In the first section of this chapter, I critically analyze Jerrold Levinson and Noël Carroll’s intentional–historical conceptions of art to argue that the screenplay’s history figures essentially and centrally in how we conceive of it.

If we abandon the possibility that function is the relational component of the screenplay’s essence, we can still look to other sorts of relationships. TOWARD AN INTENTIONAL–HISTORICAL DEFINITION If we continue to follow work in the philosophy of art, then there are broadly two options for proceeding: a procedural definition or an intentional–historical definition. On a procedural definition, screenplays would be defined as such as a result of how we treat them. Applying an institutional theory, for example, would result in something like a proposal that screenplay-hood is a sort of status conferred upon particular verbal objects by a member or members of an informal institution such as the screenplay world or, at least, someone with the appropriate authority to confer the status.

The specific reason is that it would make distinguishing screenplays from related objects such as treatments, shot lists, and storyboards impossible. ”51 How many different, related kinds of “screenplays” would be generated from these different forms of “screen writing”? And how would they be distinguishable from constitutive parts of films, such as performances, or entire films themselves? 26 A Philosophy of the Screenplay This specific problem is symptomatic of the general difficulty with the family-resemblance approach: It cannot successfully pick out members of a given category because the principle of resemblance is too broad to distinguish genuine category members from nonmembers that resemble genuine members in some fashion.

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