By Ted Nannicelli
Recently, students in numerous disciplines―including philosophy, movie and media reviews, and literary studies―have develop into drawn to the aesthetics, definition, and ontology of the screenplay. To this finish, this quantity addresses the basic philosophical questions about the character of the screenplay: what's a screenplay? Is the screenplay art―more particularly, literature? what sort of something is a screenplay? Nannicelli argues that the screenplay is a type of artefact; as such, its obstacles are decided jointly through screenwriters, and its ontological nature is set jointly by means of either writers and readers of screenplays. Any believable philosophical account of the screenplay has to be strictly restricted via our collective artistic 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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Extra resources for A Philosophy of the Screenplay
In any event, the concept of art is clearly no exception. 2 Levinson’s goal here is to call our attention to a weak sense in which most concepts are historical so that he can distinguish the special historicity of art from the historicity of other concepts. Therefore, the passage offers a useful starting point for delineating several kinds of relationships that obtain between concepts and history. First, note that “virtually all” stakes out space for purely formal concepts—such as mathematical concepts—that do not evolve historically.
27 In short, our present concept of “screenplay” includes a variety of different-looking objects, despite the fact that we might have a clear sense of what features a screenplay typically has. Moreover, in attempting to define the screenplay in virtue of physical features, we also face hard cases—cases in which it is extremely difficult to determine whether or not a work is correctly categorized as a screenplay. 28 There just does not seem to be a physical feature (or set of them) that determines screenplay-hood that will allow us to correctly judge whether the hard cases are actually screenplays or not.
By prior screenplays or screenwriting practice,” and the definition no longer appears circular. One might not know everything in the set, but this is an epistemic problem—not a flaw with the formulation of the definition. The charge might then be made that the definition is What Is a Screenplay? 33 not particularly informative because it does not allow us to readily enough identify screenplays or to know what will count as a screenplay in the future. However, this is a bullet I am willing to bite.
A Philosophy of the Screenplay by Ted Nannicelli