Polish Journal of Philosophy 6 (1):57-68 (2012)

Rafe McGregor
Edge Hill University
The purpose of this paper is to re-examine the debate about cinematic motion in terms of the necessity for reception conditions in art. I shall argue that Gregory Currie’s rejection of weak illusionism – the view that cinematic motion is illusory – is sound, because cinematic images really move, albeit in a response-dependent rather than garden-variety manner. In §1 I present Andrew Kania’s rigorous and compelling critique of Currie’s realism. I assess Trevor Ponech’s response to Kania in §2, and show that his focus on the cinematic experience is indicative of the direction the debate should take. §3 demonstrates that the issue is underpinned by the question of the role of reception conditions in the experience of art. In §4 I apply my observations on reception conditions to the problem of cinematic motion and conclude that Kania’s objections are unsuccessful due to his failure to acknowledge the necessary conditions for cinematic experience.
Keywords cinematic motion  perceptual realism  illusion
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ISBN(s) 1897-1652
DOI 10.5840/pjphil2012614
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References found in this work BETA

A Philosophy of Cinematic Art.Berys Gaut - 2010 - Cambridge: Cambridge University Press.
Image and Mind: Film, Philosophy, and Cognitive Science.Gregory Currie - 1998 - Philosophical Quarterly 48 (190):127-129.
The Illusion of Realism in Film.Andrew Kania - 2002 - British Journal of Aesthetics 42 (3):243-258.
Film, Reality, and Illusion.Gregory Currie - 1996 - In David Bordwell Noel Carroll (ed.), Post-Theory: Reconstructing Film Studies. University of Wisconsin Press. pp. 325--44.

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Citations of this work BETA

Cinematic Realism: A Defence From Plato to Gaut.Rafe McGregor - 2018 - British Journal of Aesthetics 58 (3):225-239.

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