In this course we will investigate the nature and value of film as a cinematic art form. So, this is more of a philosophy-of-film course than a philosophy-through-film one. We will critically discuss philosophical issues concerning the cinematic medium in particular and art more generally, such as: what makes films films, as opposed to works in another art form (such as theatre)? How to account for their realism (or lack thereof), their expressiveness, or their capacity to engage us perceptually, imaginatively, and emotionally in distinctive ways?
These questions evoke philosophical concepts and invite us to apply philosophical tools of analysis to our assumptions and experiences as film viewers. To this end, we will discuss works mostly from the intersection of film theory and the philosophy of film. Alongside the philosophical texts, we will engage with a diverse set of films, which will serve both as subjects of inquiry and vehicles for interrogating various themes in the readings.
No prior experience in philosophy or film studies is required—just a curiosity about the moving image as well as the questions it inspires.

Texts: Hugo Münsterberg, The Photoplay (excerpts); Rudolf Arnheim, Film as Art; André Bazin, What is Cinema? (excerpts); Stanley Cavell, The World Viewed (excerpts); David Bordwell, Narration in the Fiction Film (excerpts); Seymour Chatman, Coming to Terms (excerpts); Murray Smith, Engaging Characters (excerpts); Arthur Danto, “Moving Pictures”; Noël Carroll, “Defining the Moving Image”, “Film, Emotion, and Genre”, “Why Horror”; Kendall Walton, “Transparent Pictures”, “Fearing Fictions”; Gregory Currie, “Unreliability Refigured”; Cynthia Freeland, “Realist Horror”

Films: Chris Marker, La Jetée (1963); Charlie Chaplin, The Gold Rush (1925); Maya Deren, Meshes of the Afternoon (1943); Orson Welles, Citizen Kane (1941); Alfred Hitchcock, Rear Window (1954); Alfred Hitchcock, The Man Who Knew Too Much (1956); Stanley Kubrick, The Shining (1980); Martin Scorsese, The Key to Reserva (2007)

This course is an introduction to aesthetics, the philosophical study of art and beauty. We will critically discuss philosophical issues concerning the nature of art objects as well as their interpretation and evaluation, with a special focus on music and fictions. We will explore questions such as: What is the nature of art? Is there a definition, or a set of criteria, to distinguish art from non-art? What kind of thing is an artwork (e.g., a painting, a musical work, a novel)? To what extent does an artist determine the nature of the art that they produce? What is the nature of aesthetic experience? If some art provokes unpleasant experiences (e.g., horror fictions, tragedies), why is it sought after or enjoyed? What is the nature of aesthetic judgments? Is there a “standard of taste”? Or can aesthetic opinions be factually disputed?
While other disciplines set their sights on art as well, philosophy does so in a distinctive way, which this course will introduce you to. Prior exposure to philosophy or knowledge of art is not required.

Nigel Warburton, The Art Question (excerpts); Jeffrey Dean, “The Nature of Concepts and the Definition of Art"; Aaron Meskin, “From Defining Art to Defining the Individual Arts”; Dominic Lopes, “Nobody Needs a Theory of Art”; Stephen Davies, “Ontology of Art”; Amie Thomasson, “The Ontology of Art”; David Friedell, “How to Change an Artwork”; Achille C. Varzi, “Cover to Cover”; Frank Sibley, “Aesthetic Concepts”; Kendall Walton, “Categories of Art,” “Fearing Fictions”; Nick Zangwill, “In Defence of Moderate Aesthetic Formalism”; Jenefer Robinson, “Listening with Emotion”; Hume, “Of the Standard of Taste”; Kant, “Judgments About the Beautiful”; Noël Carroll, “Criticism and Interpretation”