•  4
    New Takes in Film‐Philosophy edited by carel, havi and greg tuck
    Journal of Aesthetics and Art Criticism 70 (3): 326-328. 2012.
  •  10
    Artistic Creation and Ethical Criticism investigates an idea that underpins the ethical criticism of art but is rarely acknowledged and poorly understood - namely, that the ethical criticism of art involves judgments not only of the attitudes a work endorses or solicits, but of what artists do to create the work. The book pioneers an innovative production-oriented approach to the study of the ethical criticism of art, one that will provide a refined philosophical account of this important topic …Read more
  •  4
    The Television Medium
    In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures, Springer. pp. 949-970. 2019.
    This chapter offers a critical overview of philosophical debates concerning the nature of the television medium, television’s art status, and television’s aesthetic value.
  •  2
    What Is a Screenplay?
    In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures, Springer. pp. 215-234. 2019.
    This chapter offers a critical survey of philosophical debate about the nature and definition of screenplays, their relationship to finished motion pictures, and the screenwriter’s claim to authorship. Screenwriting may be studied as a kind of art practice in its own right and as an integral part of most sorts of filmmaking. This chapter focuses on the latter and outlines some of the ways in which screenwriting and screenplays connect to a number of philosophical questions about motion pictures—…Read more
  •  17
    Review of Aesthetic Evaluation and Film (review)
    British Journal of Aesthetics. forthcoming.
  •  11
    Aesthetic Evaluation and Film
    British Journal of Aesthetics 60 (3): 362-364. 2020.
    Aesthetic Evaluation and Film KlevanAndrew. Manchester University Press. 2018. pp. 256. £16.99
  •  43
    Aesthetics and the Limits of the Extended Mind
    British Journal of Aesthetics 59 (1): 81-94. 2019.
    This paper seeks to establish closer connections and spur dialogue between philosophers working on 4E cognition and aestheticians. In part, the aim is to offer a critical overview of the ways 4E research might inform our understandings of the arts. Yet it is also partly to flag some potential art-specific challenges to some of the theses found within the 4E literature. I start by examining the strongest extant claims regarding art and active externalism, and argue that it is hard to see either h…Read more
  •  17
    The Interaction of Ethics and Aesthetics in Environmental Art
    Journal of Aesthetics and Art Criticism 76 (4): 497-506. 2018.
    This article advances and defends three claims: that the proper ethical criticism of environmental art requires a production-oriented approach-an approach that appraises the ethical merits or flaws of the work in terms of how the artwork is created as well as the consequences of its creation; that, depending on contextual factors, ethical flaws in environmental artworks may, but do not necessarily, constitute aesthetic flaws in those works; that, because environmental artworks appropriate part o…Read more
  •  16
    Animals, Ethics, and the Art World
    October 164 113-132. 2018.
    This paper argues that debates over art exhibitions that make use of live animals, such as the Guggenheim Museum's 2017 Art and China After 1989: Theater of the World, are reflective of a schism between two general approaches to the ethico-political criticism of art. One of these approaches, the interpretation-oriented approach, is dominant in the art world and its adjacent institutions. The other, the production-oriented approach, is tacitly adopted by art-interested non-specialists. This rift …Read more
  •  17
    Contemporary television has been marked by such exceptional programming that it is now common to hear claims that TV has finally become an art. In Appreciating the Art of Television, Nannicelli contends that televisual art is not a recent development, but has in fact existed for a long time. Yet despite the flourishing of two relevant academic subfields—the philosophy of film and television aesthetics—there is little scholarship on television, in general, as an art form. This book aims to provid…Read more
  •  31
    Ethical Criticism and the Interpretation of Art
    Journal of Aesthetics and Art Criticism 75 (4): 401-413. 2017.
    This article brings together two prominent topics in the literature over the past few decades—the ethical criticism of art and art interpretation. The article argues that debates about the ethical criticism of art have not acknowledged the fact that they are tacitly underpinned by a number of assumptions about art interpretation. I argue that the picture of interpretation that emerges from the analysis of these assumptions is best captured by moderate actual intentionalism. Reflection upon the n…Read more
  •  35
    Instances of cinema
    Projections-The Journal for Movies and Mind 11 (1): 1-15. 2017.
    This article sketches a commonplace yet neglected epistemic puzzle raised by the diversity of our film-viewing practices. Because our appreciative practices allow for variability in the " instances " of cinematic works we engage, many of our experiential encounters with those works are flawed or impoverished in a number of ways. The article outlines a number of ways in which instances of cinema can vary – including, for example, in terms of color, score, and aspect ratio. This variability of ins…Read more
  •  28
    New Takes in Film‐Philosophy edited by carel, havi and greg tuck (review)
    Journal of Aesthetics and Art Criticism 70 (3): 326-328. 2012.
  •  36
    Hollywood Incoherent (review)
    British Journal of Aesthetics 52 (3): 317-320. 2012.
  •  12
    The Routledge Companion to Philosophy and Film (review)
    International Journal of Philosophical Studies 20 (5): 763-766. 2012.
    No abstract
  •  8
    The prevailing view in television studies is that evaluative criticism involves the expression of wholly subjective tastes or attitudes. Moreover, the idea that evaluative judgements could be in any way objective or truthful tends to be greeted with deep scepticism and suspicion. This essay argues that the prevailing view – ‘expressivism’ – is unsatisfactory and unsustainable, and it advances a moderate version of objectivism.
  •  48
    This essay offers an account of the relationship between screenplay and film, and it does so by comparing this relationship to the relationships that hold between other sets of instructions and artworks: score and musical work, theatrical script and theatrical work, architectural plan and architectural work. I argue that musical scores and theatrical scripts are work-determinative documents—manuscripts whose existence entails the existence of musical works and theatrical works, respectively, and…Read more
  •  22
    Why Can't Screenplays Be Artworks?
    Journal of Aesthetics and Art Criticism 69 (4): 405-414. 2011.
  •  27
    Ontology, Intentionality, and Television Aesthetics
    Screen 53 (2): 164-179. 2012.
    This essay suggests that television aesthetics, as a research project, would benefit from attending to relevant theoretical debates in philosophical aesthetics. One reason for this is that assumptions about the ontology of television artworks are already embedded in our critical practices. We ought to be more aware of what these assumptions are and state them more explicitly. Moreover, I argue, for debates in television aesthetics to get off the ground, we need to ensure we bring the largely the…Read more
  •  52
    Moderate Comic Immoralism and the Genetic Approach to the Ethical Criticism of Art
    Journal of Aesthetics and Art Criticism 72 (2): 169-179. 2014.
    According to comic moralism, moral flaws make comic works less funny or not funny at all. In contrast, comic immoralism is the view that moral flaws make comic works funnier. In this article, I argue for a moderate version of comic immoralism. I claim that, sometimes, comic works are funny partly in virtue of their moral flaws. I argue for this claim—and artistic immoralism more generally—by identifying artistically valuable moral flaws in relevant actions undertaken in the creation of those wor…Read more
  •  61
    Recently, scholars in a variety of disciplines—including philosophy, film and media studies, and literary studies—have become interested in the aesthetics, definition, and ontology of the screenplay. To this end, this volume addresses the fundamental philosophical questions about the nature of the screenplay: What is a screenplay? Is the screenplay art—more specifically, literature? What kind of a thing is a screenplay? Nannicelli argues that the screenplay is a kind of artefact; as such, its bo…Read more