This chapter defends a partial intentionalist approach that is distinct from the strongest forms of actualist intentionalism as well as the kind of conditionalist intentionalism advocated by some of the advocates of philosophically motivated interpretations of art, such as Thomas Wartenberg. The chapter argues that partial intentionalism is not vulnerable to the objections leveled against other versions of intentionalism. One of those objections hinges on the fallibility of intentions and of the art-making actions related to them. This chapter responds to this problem by discussing the conditions under which intentions are successfully realized in the work. Different approaches to this question are surveyed with reference to the work of H. P. Grice and his followers. The chapter defends a proposal involving a ‘meshing’ or congruence relation between intentions and features of the audio-visual display. The application of this type of success condition is illustrated in a discussion of the determination of the fictional content of Carl Theodor Dreyer's 1943 film, Day of Wrath.
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