Please use this identifier to cite or link to this item: 192.168.6.56/handle/123456789/57083
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dc.contributor.authorO’Pray, Michael-
dc.contributor.editorStephen Heath,en_US
dc.contributor.editorColin MacCabeen_US
dc.contributor.editorDenise Rileyen_US
dc.date.accessioned2019-03-25T05:01:52Z-
dc.date.available2019-03-25T05:01:52Z-
dc.date.issued2004-
dc.identifier.isbn0–333–53762–9-
dc.identifier.urihttp://10.6.20.12:80/handle/123456789/57083-
dc.descriptionMy aim is to explore such a sensibility with respect to film and, in furtherance of this aim, to discuss the writings of Stokes, to whose work Gowing’s Vermeer owes much for its approach, its style and its aesthetic. One question in response to such a project may be: What can a Stokesian view of visual art have to say about an entirely different medium, film? First, the area that the book will concentrate on is the nature of the aesthetic and psychological relationship to the visual arts, the nature too of the visual art object and the relationship between form in visual art and meaning. These are major questions for both art and for the philosophy of art, and in many ways, the book will try to articulate a possible answer. Just as ambitiously perhaps, it will attempt to go some way to providing an answer – or at least an intelligible response – to the question of how film can be addressed on such matters alongside other arts such as painting, sculpture and architecture.-
dc.languageenen_US
dc.language.isoenen_US
dc.publisherPalgraveen_US
dc.subjectMotion pictures—Aesthetics.en_US
dc.titleFilm, Form and Phantasy Adrian Stokes and Film Aestheticsen_US
dc.typeBooken_US
Appears in Collections:Film and Television Production

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