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A Philosophy of Cinematic Art in .NET Maker Code 128B in .NET A Philosophy of Cinematic Art




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A Philosophy of Cinematic Art use visual .net qrcode generator touse qr code iso/iec18004 for .net EAN 128 lm s script, an VS .NET qr-codes d where this was not so, Bergman was supervising and exercising control over the activities of his collaborators ; nor was Bergman subject to any coercion in this process.36 In his recent Cinema, Philosophy, Bergman, he explicitly signals that an author must have su cient control over the work as a whole, and cites with approval Perkins account of control over the relationships between elements in the lm as being crucial in this respect.

Bergman has this degree of control over his lms, and thus counts as the single author of them, despite the artistic contributions of others.37 This account of authorship, with its dual requirements of expressive or artistic intentions and su cient control of the work as a whole, is sophisticated, interesting and important. It supports the possibility of single authorship of mainstream lms, but does not deny the artistic importance of others contributions: on the contrary, appreciation of a performer s artistic contribution to a lm can be at least as crucial as appreciation of the director s achievement .

38 Livingston also notes that in large-scale commercial lms single authorship is not the most common scenario. These points move this version of the single-authorship view closer to the multipleauthorship view I defend. But the point of disagreement remains over single authorship of mainstream lms.

Is this indeed a possibility Consider rst the expressive/artistic condition of authorship. Why, one might wonder, do not many of the artistic collaborators in a lm express their attitudes in making the lm and therefore ful l a necessary condition for authorship For instance, an actor will, through her performance, standardly express attitudes towards the particular character that she plays, and those attitudes cannot be entirely traceable to the director, given the nuances that actors bring to a role. An actor s contribution can have more than one source: it may be delivered through the particular way that he plays a character; or a well-known actor may give, though his mere presence, a weight and authority to a character that it would otherwise lack; or aspects of the actor s persona may condition the attitudes that are expressed.

If the character is an important one, the attitudes expressed by the entire lm may depend on how that character is played (we will consider several examples in. 36 37 38. Ibid., p. 144.

L Visual Studio .NET Quick Response Code ivingston, Cinema, Philosophy, Bergman, chapter 3, see especially p.71.

Livingston, Art and Intention, p. 89. Livingston remarks in this context that the disagreement between him and me about single authorship is largely verbal .

However, even if this were so, the terminology matters here: talk of single authorship easily tempts those of its adherents less careful than Livingston to occlude the contributions of other cinematic artists in practice, even when they acknowledge them in theory.. Cinematic authorship Section 3.7). Li qr bidimensional barcode for .

NET kewise, composers, set designers, directors of photography, and so on, can express their attitudes through their contributions. Livingston believes that this view is based on a misconception of the expressive role of actors in particular. For instance, in Summer with Monika (1953) Harriet Andersson, who plays the title role, expresses through her acting Monika s attitudes, but does not express her own attitudes.

In contrast, Bergman, as writer-director, does express his own attitudes of painful ambivalence towards parenthood and traditional gender roles, which are central themes of his work. So whereas a lm can be taken as indicative of its director s attitudes, it is not indicative of the actors attitudes.39 However, even if this were so, the author as artist is someone on Livingston s analysis who intentionally produces artistically relevant qualities, and these include more than expressive qualities; and we can reasonably take a performance by an actor that contributes towards, say, the beauty and originality of a lm to be an intentional production of those qualities by her.

And there is also no salient di erence in respect of the indication of attitudes. If we are talking of the attitudes that the director has in real life, then we are not entitled to take, say, the expression of sepulchral gloomy attitudes in his lm as an indication that he really is gloomy (perhaps he thinks that gloomy attitudes make for better lms and in reality is quite cheerful); in the same way we are not entitled to take the attitudes an actor expresses in a lm to be an indication that he really has those attitudes. However, the relevant attitudes for the artistic assessment of a lm are those expressed in the lm, not those that are held by the lmmakers in real life: a carefree comedy does not cease to be such merely because we discover that the lmmakers were su ering from depression when they made it.

And just as directors may express attitudes in their lms, so may actors, musicians and other collaborators. An actor may, for instance, nd humour in a character that other actors would not, so expressing an attitude of humour to those kinds of situations; and this attitude may be particularly evident where the actor has played other roles in similar fashion or has a particular persona (think, for instance, of the way that Cary Grant could nd humour and elegance in all manner of roles). Or an actor may nd a degree of heroism in even distasteful or disturbing characters, and so express a conception of heroism and an attitude towards it.

Livingston s claimed disanalogy between directors and other contributors also runs into problems given his analysis of joint authorship. He holds.
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