What Movies Show: Realism, Perception and Truth in Film Lindsey Fiorelli University of Pennsylvania, fiorelli.lindsey@gmail.com
[2023-09-08 05:38:46]
This article appeared in Scholarly Commons. Http://repository.upenn.edu/edissertations/1715 For more information please contact libraryrepository @ pobox.upenn.edu.
"What movie shows: realism, perception, and truth in movies" recommended by Lindsey's Fiorelli (2016). Publically accessible paper in Pennsylvania. 1715. http://repository.upenn.edu/edissertations/1715
Abstract movie appreciation is a unique aesthetic experience that seems to have a distinctive tension. On the one hand, the story of the movie seems to be in front of us. We can perceive things, people, places in the same way as we perceive things and present vision and sound directly. It is the world. On the other hand, movies have important constructive elements. Movie viewers must recognize what the perception of the movie represents and make lens transition and montage aware of customs. These two aspects - perceptual immediacy and constructability - seem to be opposite. And theorists usually treat them as opposition, the movie reality list focuses on the perception content of the movie, the semioticist focuses on how to communicate with the movie, the theorist of the story tells us that a movie novel I am watching how you perceive. In these analyzes, participation of everyone is independent of others. In this article, I will explain the nuances of what I see and hear in the process of watching movies, what I know, and what I imagine. When I look at the imaginary world of a movie, I think that the emotional content of the movie and the typical contents are intertwined. I think that they have direct recognition of cognition for movie exhibitions (methods not possible in other art forms such as novels) - they immediately increase their fictitious facts. Their perceptual content helps to imply a fictitious truth Opens the way to a complete theory of independent, unwrapped, cinematic meaning When we see a movie To clarify what happens and to inspire the relationship between film philosophy and other philosophical fields, I apply it using the concept of perceptual philosophy, linguistic philosophy, epistemology.
Elizabeth Camp, Institute of Philosophy Association A A A A A A A A A A A A A A A A A A A A A A A A
"Realism does not have a universal comprehensive definition and there is no agreement between scholars and filmmakers regarding their purpose and purpose, but there are many" realism "with common interests in life, It can be said that there is. Since it is alive, some aspects of it ". (Lay, 2002, page 6) This sentence understands the immediate problem and the meaning of John Ellis when he said that there is no realism besides realism In the context I wrote, in the context I wrote, for a television drama it means that each television program represents various aspects of reality, each with its own function and purpose, for example , Soap opera uses realistic and practical situations and problems such as divorce, death, teenage anxiety and human relations etc. These are the themes that everyone must deal with in several aspects of life .
The existence of reality that has nothing to do with beliefs or ideas is called realism. More specifically, philosophers are blessed with the concept of "realism" and realism such as realism about universality and the outside world. In general, if any class of objects can be identified, their existence or basic characteristics are considered irrelevant to perception, belief, language, or other artifacts and can talk about "realism" of the object . People can talk about anti-realism about the same thing. In anti - realism view, anti - realism is a series of latest anti - realism. Perhaps the first thing is idealism, as reality is thought to be in thinking and products of our thoughts. Berkeley 's idealism is the point made by Irish empathist George Berkeley who believes that the subject of perception is indeed the idea of thinking.