- Title Pages
- Notes on Contributors
- Instructions for Use
- Introduction: Film Theory and Philosophy
- Part I What is Cinematic Representation?
- 1 The Film Theory that Never was: A Nervous Manifesto
- 2 On Pictures and Photographs: Objections Answered
- 3 Looking at Motion Pictures
- 4 Sound, Epistemology, Film
- Part II Meaning, Authorship, and Intention
- 5 Cinematic Authorship
- 6 Film Authorship and Collaboration
- 7 Fiction, Non-fiction, and the Film of Presumptive Assertion: A Conceptual Analysis
- 8 What is Non-fiction Cinema?
- 9 On Film Narrative and Narrative Meaning
- Part III Ideology and Ethics
- 10 The Ideological Impediment: Epistemology, Feminism, and Film Theory
- 11 Ideology and Film Culture
- 12 Aesthetics and Politics in Contemporary Black Film Theory
- Part IV Aesthetics
- 13 Music in the Movies: A Philosophical Enquiry
- 14 Personal Agency Theories of Expressiveness and the Movies
- 15 Aristotelians on Speed: Paradoxes of Genre in the Context of Cinema
- Part V Emotional Response
- 16. Notes on Spectator Emotion and Ideological Film Criticism
- 17 Comedy and Classicism
- 18 Imagining from the Inside
- 19 Seeing Theory: On Perception and Emotional Response in Current Film Theory
- Select Bibliography
- (p.132) 5 Cinematic Authorship
- Film Theory and Philosophy
- Oxford University Press
This chapter shows that cinematic authorship is still a controversial topic in studios. There are some scholars that allow authorship in independent film production but not in studio-produced works. Paisley Livingston's goal is to defend the idea of solitary artistic genius which is the fundamental unit of cultural analysis. Definitions of what an author is, is noted in this chapter. The chapter also looks at the concept of a cinematic author. One particular definition of what a cinematic author is stands out. A cinematic author is an agent who intentionally makes a cinematic utterance. As far as whether there are real or unreal authors, there is a complex debate about it. There are two reasons why the cinema is suited to an anti-realist notion of authorship: ontological and epistemological.
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