By Ted Nannicelli
Recently, students in various disciplines―including philosophy, movie and media experiences, and literary studies―have turn into attracted to the aesthetics, definition, and ontology of the screenplay. To this finish, this quantity addresses the basic philosophical questions on the character of the screenplay: what's a screenplay? Is the screenplay art―more particularly, literature? what sort of a specific thing is a screenplay? Nannicelli argues that the screenplay is one of those artefact; as such, its barriers are made up our minds jointly by means of screenwriters, and its ontological nature is set jointly through either writers and readers of screenplays. Any believable philosophical account of the screenplay needs to be strictly restricted by means of our collective inventive and appreciative practices, and needs to realize that these practices point out that a minimum of a few screenplays are artworks.
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Additional info for A Philosophy of the Screenplay
Cultural concepts, such as “medicine,” appear to be essentially historical in a particular way that differs from the way in which “dog” is essentially historical. , transformation to such an extent that no Defending the Definition 37 longer recognizable as the same thing. ”10 In other words, Levinson understands art to be essentially historical in an even stronger sense than are all other cultural entities. The concept of art is not only externally historical, but, furthermore, internally historical.
The definition accounts for fan-fiction screenplays by allowing that something can count as a screenplay if it is intended to change or repudiate the ways in which these features have historically suggested the constitutive elements of a film. This is precisely what fan-fiction screenplays do (in accordance with recognizable and live purposes of screenwriting practice), insofar as they intend their use of these same formal features to serve a new function. ). Lou’s intention in creating this object, however, is really just to tell a story.
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.
A Philosophy of the Screenplay by Ted Nannicelli