Research as Scrutiny. Our most demanding issues are aesthetic issues.
Robert Bresson’s cinematography allows him to show the affordances that things and situations have for characters in a film. By intimating these affordances, Bresson authentically presents the affordances as well as the characters. The fact that Bresson views and conceives of his ‘actors’ as models, rather than as malleable actors, illustrates, again, an effort to authentically film real persons in real situations. He thus allows us, the external spectators, an authentic view of what the characters in the film see. In the process of discussing this I appeal to a view Richard Wollheim introduced, of internal spectators.
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Gerwen, Rob van. 2018. Shall we stay in touch. How we remove the mind from our world view. (In Dutch, Zullen we contact houden. Hoe we de geest uit ons wereldbeeld verwijderen.). Utrecht: Klement.
Husserl, Edmund. 1970. The Crisis of European Sciences and Transcendental Phenomenology. Northwestern University Press.
Matravers, Derek. 1997. “The paradox of Fiction: The Report versus the Perceptual Model.” In Emotion and the Arts, edited by Mette Hjort and Sue Laver, 78–94. Oxford: Oxford University Press.
Savile, Anthony. 1982. “Sentimentality.” In The Test of Time, 236–50. Oxford: Clarendon Press.
Wollheim, Richard. 1993. “Pictorial Style: Two Views.” In The Mind and its Depths, 171–184. Cambridge (Mass.), London (England): Harvard University Press.
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