|
1973
The World Viewed, by Stanley Cavell Film Comment (January), pp. 62-4.
1974
Theory of Film Practice, by Noel Burch Film Comment 10:2, pp. 57-8.
Film Language, by Christian Metz Film Comment 10:6, pp. 61-3.
1981
"Fall TO Grace", on Keaton: The Man Who Wouldn't Lie Down, by Tom Dardis, Quarterly Review of Film Studies, 6:4 (Fall), pp. 413-17.
1982
Pursuits of Happiness, by Stanley Cavell The Journal of Aesthetics and Art Criticism pp. 103-6.
1984
The Imaginary Signifyer, by Christian Metz Journal of Aesthetics and Art Criticism 43 (Winter), pp. 211-16.
1987
"Illusions of Postmodernism" (Recordings: Art, Spectacle, Cultural Politics by Hal Foster) Raritan 7:2 (Fall), pp. 143-55.
1988
Time, Narrative, and History, by David Carr History and Theory 27:3, pp. 297-306.
1989
Knowledge, Fiction and Imagination, by David Novitz The Journal of Aesthetics and Art Criticism 48, pp. 167-9.
1990
The Transfiguration of the Commonplace, The Philosophical Disenfranchisement of Art, The State of the Art, by Arthur C. Danto History and Theory 29:1, pp. 111-24.
1991
"On Kendall Walton's Mimesis as Make-Believe" Philosophy and Phenomenological Research 51:2 (Summer), pp. 383-7.
1994
The Nature of Fiction, by Gregory Currie Mind 103, pp. 542-5.
1995
"Critical Study: Mimesis as Make-Believe" (by Kendall Walton) The Philosophical Quarterly 45:17, pp. 93-99.
1996
Cameron, Evan William, Journal of Aesthetics and Art Criticism 47 (Winter, 1989), pp. 85-6.
Lehman, Peter, "Noël Carroll and the Philosophy of Film Theory", Persistence of Vision 8 (1990), pp. 85-93
Plantinga, Carl, Quarterly Journal of Speech (November, 1990), pp. 456-8.
Polan, Dana, Film Quarterly 42 (Spring, 1989), pp. 49-50
Testa, Bart, "Out of Theory" 1:2, pp. 49-65.
Wilson, George,The Philosophical Review 100 (July, 1991), pp. 506-10.
Buckland, Warren, "Critique of Poor Reason" Screen 30:4 (Autumn, 1989), pp. 80-
Hammett, Jennifer, "Essentializing Movies: Perceiving Cognitive Film Theory", Wide Angle 14:1 (January, 1992), pp. 86-94.
Hanson, Karen, The Philosophical Review 100 (July, 1991), pp. 663-5.
Lehman, Peter, "Noël Carroll and the Philosophy of Film Theory" Persistence of Vision 8 (1990), pp. 85-93.
Prince, Stephen, Film Quarterly 45:2 (Winter 91-92), pp. 49-51.
Sesonske, Alexander, Journal of Aesthetics and Art Criticism 47 (Summer, 1989), pp. 284-5.
Testa, Bart, "Out of Theory"
Whittock, Trevor, British Journal of Aesthetics 29 (Autumn, 1989), pp. 379-81.
Devereaux, Mary, The Philosophical Review 101 (October, 1992), pp. 950-3.
Levinson, Jerrold, The Journal of Aesthetics and Art Criticism 49:3 (Summer, 1991), pp. 253-8.
MacKenzie, Scott, MLN 106 (December, 1991), pp. 1093-7.
Matravers, Derek, British Journal of Aesthetics 31 (April, 1991), pp. 174-6.
Morrison, James, Film Criticism 15 (1990), pp. 41-3.
Peterson, James, "The Freddie Kruger of Film Theory Strikes Again", Wide Angle 14:1 (January, 1992), pp. 78-85.
Solomon, Robert C., Philosophy and Literature 16:1 (1992), pp. 163-173.
Vorobej, Mark, "Monsters and the Paradox of Horror", Dialogue 36 (Spring, 1997), pp. 219-46.
Blackwell, Scott, Film Criticism 22:2 (Winter 1997-8), 81-6.
Gaut, Berys, The Journal of Aesthetics and Art Criticism 57:1 (Winter, 1999), 86-7.
Prince, Steven, Film Quarterly 52:2 (Winter 1998/99), 60-61.
Testa, Bart, Britsh Journal of Aesthetics (1997).
Warburton, Nigel, British Journal of Aesthetics 38:4 (October), 438-40.
Wood, Aylish, Journal of American Studies 32:1 (April, 1998), 42-3.
Higgins, Kathleen Marie, "Mass Appeal" [Restricted Access], Philosophy and Literature 23:1 (1999), 197-205
Horowitz, Gregg, The Journal of Philosophy 96:2 (February, 1999), 99-105.
Kemp, Gary, British Journal of Aesthetics 39:3 (July, 1999), 300-303.
Shaw, Daniel, "It All Depends on What You Mean By 'Ideology'", Film-Philosophy On-line forum.
Smith, Anthony, "Currency and Loose Change", Times Higher Education Supplement 04/03/98, issue 1326, p. 27.
Yanal, R.J., Philosophical Books 40:3 (July, 1999), 200-202.
Sight and Sound 9:5 (May, 1999), 30.
Allen, Blaine, "Up Against the Institutional Wall: A Dissenting View" Film Reader 4 (1979).
Dickie, George, "Reply to Noël Carroll", Journal of Aesthetics and Art Criticism 55:3 (1997), 311-316.
Dickie, George, "Art: Function or Procedure - Nature or Culture?", Journal of Aesthetics and Art Criticism 55, pp. 19-28.
Gaut, Berys, "The Enjoyment Theory of Horror: A Response to Carroll" British Journal of Aesthetics 35:3 (July, 1995), pp. 284-9.
Heath, Stephen, "Le Pere Noel" October (Fall, 1983)
Scott, Gregory, "Banes and Carroll on Defining Dance", Dance Research Journal 29 (Spring, 1997), pp. 7-22.
Speck, Stanley, "Criticism and Countertheses: A Reply to Noël Carroll" The Journal of Aesthetics and Art Criticism (1986), pp. 405-6.
Feagin, Susan L., "Monsters, Disgust and Fascination" Philosophical Studies 65 (1992), pp. 75-84.
Schneider, Steven, "Monsters as (Uncanny) Metaphors: Freud, Lakoff, and the Representation of Monstrosity in Cinematic Horror" Other Voices: on-line journal 1:3 (January 1999).
Neill, Alex, "On a Paradox of the Heart" Philosophical Studies 65 (1992), pp. 53-65.
Scott, Gregory, "Banes and Carroll on Defining Dance", Dance Research Journal 29 (Spring, 1997), pp. 7-22.
Scott, Gregory, "Transcending the Beardsleyans: a Reply to Carroll and Bates", Dance Research Journal 31:1 (Spring, 1999), 12-19.
Published in:
Artforum
Boston Review
British Journal of Aesthetics
Cine-tracts
Daedalus
Dance Chronicle
Dance Research Journal
Dance Theatre Journal
Dialectics and Humanism
The Drama Review
Film Comment
Film Quarterly
Film Reader
Formations
History and Theory
Journal of Aesthetic Education
Journal of Aesthetics and Art Criticism
Journal of Dramatic Theory and Criticism
Journal of Pragmatics
Leonardo
Millennium Film Journal
Mind
The Monist
New York Literary Forum
October
Persistence of Vision
Philosophic Exchange
Philosophical Forum
Philosophical Quarterly
Philosophical Studies
Philosophy and Literature
Philosophy and Phenomenological Research
Philosophy of the Social Sciences
Poetics Today
Raritan
Soho Weekly News
Studies in the Literary Imagination
Wide Angle
The Wilson Quarterly
|
Mystifying Movies: Fads and Fallacies in Contemporary Film Theory. New York: Columbia University Press, 1988. The Philosophy of Horror, or; Paradoxes of the Heart. New York: Routledge, 1990.
Anthology, edited with David Bordwell; Post-Theory: Reconstructing Film Studies (University of Wisconsin Press, 1996). A Philosophy of Mass Art. Oxford University Press, 1998.
Forthcoming anthology: Theories of Art. Madison: University of Wisconsin Press.
1973 "For God and Country" Artforum (January). Reprinted in Interpreting the Moving Image. 1974 "Douglas Dunn, 308 Broadway" Artforum 13 (September). "Joan Jones: Making the Image Visible", Artforum (April), pp. 52-3. Reprinted in Interpreting the Moving Image. 1975 "Air Dancing" The Drama Review/T65 19:1, pp. 5-12. 1976 Unpublished doctoral dissertation: "An In-Depth Analysis of Buster Keaton's The General" (NYU) 242 pp. 1977 "Entr'acte, Paris and Dada" Millennium Film Journal 1, pp. 4-11. Reprinted in Interpreting the Moving Image. "Mind, Medium and Metaphor in Harry Smith's Heaven and Earth Magic" Film Quarterly 31:2 (Winter), pp. 37-44. Reprinted in Interpreting the Moving Image. 1978 "The Cabinet of Dr. Kracauer" Millennium Film Journal 2 (Spring/Summer), pp. 77-85. Reprinted in Interpreting the Moving Image. "Choreographic Canvases" Soho Weekly News (December). "Lang, Pabst and Sound" Cine-tracts 5 (Fall), 15-23. Reprinted in Interpreting the Moving Image. "Organic Analysis" The Drama Review/T79 22:3 (September), pp. 34-44. "Welles and Kafka" Film Reader 3, pp. 180-88. Reprinted in Interpreting the Moving Image. 1979 "Amy Taubin: The Solo Self" The Drama Review 23:1, pp. 51-8. "Avant-Garde Film and Film Theory" Millennium Film Journal 4/5 (Summer/Fall), pp. 135-44. "Film History and Film Theory: An Outline for an Institutional Theory of Film" Film Reader 4, pp. 81-96. Reprinted in Theorizing the Moving Image. "The Gold Rush" Wide Angle 3:2, pp. 42-9. Reprinted in Interpreting the Moving Image. "The Mystery Plays of Michael Kirby: Notes on the Esthetics of Structuralist Theatre" The Drama Review/T83 23:3 (September), pp. 103-112. "Post-Modern Dance and Expression" + "Discussion Following Noël Carroll Presentation", in Philosophical Essays on Dance (ed. Gordon Fancher and Gerald Myers), pp. 95-114. "'Text of Light'" (with Bruce Jenkins) Film Culture nos 67-69, pp. 145-138. Reprinted in Interpreting the Moving Image. "Toward a Theory of Film Editing" Millennium Film Journal 3, pp. 79-99. Reprinted in Theorizing the Moving Image. 1980 "Identity and Difference: From Ritual Symbolism to Condensation in Inauguration of the Pleasure Dome" Millennium Film Journal 6 (Spring), pp. 31-42. Reprinted in Interpreting the Moving Image. "Interview with a Woman Who..." (Yvonne Reiner), Millennium Film Journal 7/8/9 (Fall/Winter), pp. 37-68. "Language and Cinema: Preliminary Notes for a Theory of Verbal Images" Millennium Film Journal 7-9 (Fall/Winter), pp. 186-217. Reprinted in Theorizing the Moving Image. "The Moral Ecology of Melodrama: The Family Plot and Magnificent Obsession", in Melodrama (New York Literary Forum, ed. Daniel Gerould) 7, pp. 197-206. 1981 "Becky Sharp Takes Over", in The English Novel and the Movies (eds. Klein and Parker). NY: Frederick Ungar Publishing Co, pp. 108-20. Reprinted in Interpreting the Moving Image. "Causation, the Ampliation of Movement and Avant-Garde Film" Millennium Film Journal 10/11 (Fall/Winter), pp. 61-82. Reprinted in Theorizing the Moving Image. "Introduction to Journeys from Berlin/1971" Unknown Journal (7/8/9 Fall/Winter 1981-82, pp. 37-42.) Reprinted in Interpreting the Moving Image. "Nightmare and the Horror Film: The Symbolic Biology of Fantastic Beings" Film Quarterly 34:3, pp. 16-25. Reprinted and expanded in The Anxious Subject: Nightmares and Daydreams in Literature and Film (ed. Lazar Moshe). Malibu: Udena, 1983. 1982 "Address to the Heathen", October 23 (Winter). "Amy Taubin's Bag", Millennium Film Journal 12 (Fall/Winter), pp. 68-78. Reprinted in Interpreting the Moving Image. "The Future of Allusion: Hollywood in the Seventies (And Beyond)", October 20 (Spring). Reprinted in Interpreting the Moving Image. "Working and Dancing: A Response to Monroe Beardsley's 'What Is Going On In Dance?'" (with Sally Banes), Dance Research Journal 15:1 (Fall). 1983 "Art, Film and Ideology: A Response to Blaine Allen" Millennium Film Journal 15, pp. 120-32 (written in 1980). Reprinted in Theorizing the Moving Image. "Cunningham and Duchamp" (with Sally Banes)Ballet Review (NY), 11:2 (Summer). Reprinted in Banes: Writing, Dancing in the Age of Postmodernism. "From Real to Reel: Entangled in Non-Fiction Film" Philosophic Exchange, pp. 5-46. Reprinted in Theorizing the Moving Image. "Introducing Laura Dern's Choreography" Dance and Dancers (May) "Nothing But a Man and The Cool World", in The American New Wave Melinda Ward & Bruce Jenkins (eds.) (A Walker Art Center/Buffalo Media Study Traveling Catalogue), pp. 41-47. Reprinted in Interpreting the Moving Image. "Reply to Carol Brownson and Jack C. Wolf" Philosophic Exchange, pp. 59-64. Reprinted in Theorizing the Moving Image. "A Reply to Heath" October (Winter), pp. 81-102. Reprinted in Theorizing the Moving Image. "A Select View on Earthlings: Ping Chong" The Drama Review/TD97 27:1, pp. 72-81. "Some Philosophical Issues of Film Theory" Unpublished doctoral dissertation, University of Illinois, Chicago 328 pp. 1984 "Hume's Standard of Taste" The Journal of Aesthetics and Art Criticism 43, pp. 181-94. "King Kong: Ape and Essence", in Planks of Reason: Essays on the Horror Film (ed. Barry Keith Grant), pp. 215-44. Reprinted in Interpreting the Moving Image. "Medium Specificity Arguments and the Self-Consciously Invented Arts: Film, Video, and Photography", Millennium Film Journal nos. 14/15. Reprinted in Theorizing the Moving Image. "The Return of The Repressed: The Re-emergence of Expression in Contemporary American Dance", Dance Theatre Journal 2:1 "Toward a Theory of Film Suspense", Persistence of Vision, 1. Reprinted in Theorizing the Moving Image. 1985 "Film", in The Postmodern Moment: A Handbook of Contemporary Innovation in the Arts (ed. Stanley Trachtenberg) Westport, Conn: Greenwood, pp. 100-133. Reprinted as "Film in the Age of Postmodernism" in Interpreting the Moving Image. "Formalism and Critical Evaluation", in The Reasons of Art (ed. Peter McCormick). Ottawa: U of Ottawa Press, pp. 327-35. "Herzog, Presence, and Paradox" Persistence of Vision 2, pp. 30-40. Reprinted in Interpreting the Moving Image. "The Power of Movies", Daedalus. Reprinted in Theorizing the Moving Image. "The Specificity of Media in the Arts", Journal of Aesthetic Education 19. Reprinted in Theorizing the Moving Image. 1986 "Art and Interaction" The Journal of Aesthetics and Art Criticism 45, pp. 57-68. "Back to Basics" The Wilson Quarterly 10:3 (Summer), pp. 58-69. Reprinted in American Media: The Wilson Quarterly Reader (eds. Philip S Cook et al.) Washington: Wilson Center Press, 1989. Reprinted in Interpreting the Moving Image. "A Brief Comment on Frampton's Notion of Metahistory" Millennium Film Journal (Fall/Winter), pp. 200-205. Reprinted in Theorizing the Moving Image. "Notes on Movie Music" (with Patrick Carroll) Studies in the Literary Imagination 13:1 (Spring), pp. 73-81. Reprinted in Theorizing the Moving Image and The Cinematic Text. "Performance" Formations 3:1 (Spring), pp. 63-79. 1987 "Belsey on Language and Realism" Philosophy and Literature 11:1 (April), pp. 124-35. "Can Government Funding of the Arts be Justified Theoretically?" Journal of Aesthetic Education 21:1 (Spring), pp. 21-35. "Concerning Uniqueness Claims for Photographic and Cinematographic Representation", Dialectics and Humanism no. 2. Reprinted in Theorizing the Moving Image. "Conspiracy Theories of Representation" Philosophy of the Social Sciences 17, pp. 395-412. "Hans Richter's Struggle for Film" Millennium Film Journal 19 (Fall/Winter), pp. 104-112. Reprinted in Theorizing the Moving Image. "The Nature of Horror" Journal of Aesthetics and Art Criticism 46 (Fall), pp. 51-9. "Trois propositions pour une critique de la danse contemporaine", in La Danse au defi (ed. Michele Febvre) Montreal: Editions Parachute. 1988 "Anti-Illusionism in Modern and Postmodern Art" Leonardo 21:3, pp. 297-304. "Art, Practice, and Narrative" The Monist 71, pp. 140-56. "As the Dial Turns: Notes on Soap Operas", Boston Review 13:1 (February), pp. 5-6, 20-21. Reprinted in Theorizing the Moving Image. "Film/Mind Analogies" Journal of Aesthetics and Art Criticism 45:4 (Summer), pp. 489-99. Reprinted in Theorizing the Moving Image. "Interpreting Citizen Kane" Persistence of Vision, 7, pp. 51-61. Reprinted in Interpreting the Moving Image. 1990 "Buster Keaton, The General, and Visible Intelligibility", in Close Viewings: An Anthology of New Film Criticism (ed. Peter Lehman). Tallahassee: Florida State University Press, pp. 125-40. Reprinted in Interpreting the Moving Image. "Dance and Spectacle in the United States in the Eighties and Nineties" (With Sally Banes), Il Corpo Parlante Conference, Rome. "The Image of Women in Film: A Defence of a Paradigm" Journal of Aesthetics and Art Criticism 48:4 (Fall), pp. 149-60. Reprinted in Theorizing the Moving Image. "Interpretation, History and Narrative" The Monist 73, pp. 134-166. "Keaton: Film Acting as Action", in Making Visible the Invisible C. Zucker (ed.) (Metuchen, Scarecrow Press), pp. 198-223. Reprinted in Interpreting the Moving Image. "Notes on Dreyer's Vampyr" Persistence of Vision, 8, pp. 5-14. Reprinted in Interpreting the Moving Image. 1991 "Beauty and the Genealogy of Art Theory", Philosophical Forum 22:4. "Notes on the Sight Gag", in comedy/cinema/theory (ed. Andrew Horton). Berkeley: UoCalifornia Press, pp. 25-42. "On Jokes", in Midwest Studies in Philosophy: Philosophy and the Arts 16, pp. 280-301. 1992 "Art, Intention, and Conversation", in Intention and Interpretation (ed. Gary Iseminger). Temple UP, pp. 97-131. "Cognitivism, Contemporary Film Theory, and Method: A Response to Warren Buckland" Journal of Dramatic Theory and Criticism 6:2 (Spring), pp. 199-219. Reprinted in Theorizing the Moving Image. "Disgust or Fascination: A Response to Susan Feagin" Philosophical Studies 65, pp. 85-90. "George Dickie", entry in A Companion to Aesthetics (ed. David Cooper). Blackwell Companions to Philosophy, pp. 122-4. "Mass Art, High Art and the Avant-garde: A Response to David Novitz" Philosophic Exchange 23 "The Nature of Mass Art" Philosophic Exchange 23. "A Paradox of the Heart: A Response to Alex Neill" Philosophical Studies 65, pp. 67-74. "Theatre, Dance, and Theory: A Philosophical Narrative" Dance Chronicle 15:3, pp. 317-31. 1993 "Anglo-American Aesthetics and Contemporary Criticism: Intention and the Hermeneutics of Suspicion" The Journal of Aesthetics and Art Criticism 51:2 (Spring), pp. 245-52. "Essence, Expression and History: Arthur Danto's Philosophy of Art", in Danto and His Critics (ed. Mark Rollins) Oxford: Blackwell. "Film, Rhetoric and Ideology", in Explanation and Value in the Arts (ed. Salim Kemal and I. Gaskell). Cambridge UP, pp. 215-37. Reprinted in Theorizing the Moving Image. "Historical Narratives and the Philosophy of Art" The Journal of Aesthetics and Art Criticism 51:3 (Summer), pp. 313-26. "Identifying Art", in Institutions of Art: Reconsiderations of George Dickie's Philosophy (ed. Robert Yanal) University Parks: Penn State UP. "On Being Moved by Nature: Between Religion and Natural History", in Landscape, Natural Beauty and the Arts (eds. Kemal & Gaskell), pp. 244-66. Reprinted in Arguing About Art: Contemporary Philosophical Debates (Compiled by Alex Neill and Aaron Ridley) McGraw-Hill, Inc., 1995, pp. 139-60. "Toward a Theory of Point-of-View Editing: Communication, Emotion, and the Movies" Poetics Today 14:1 (Spring), pp. 123-42. Reprinted in Theorizing the Moving Image. 1994 "Cage and Philosophy" The Journal of Aesthetics and Art Criticism 52:1 (Winter), pp. 93-8. "The Paradox of Junk Fiction" Philosophy and Literature 18, pp. 225-41. "Philosophical Resistance to Mass Art", in Affirmation and Negation in Contemporary American Culture (eds. Hoffman & Hornung), pp. 297-312. "Visual Metaphor", in Aspects of Metaphor (ed. Jaakko Hintikka). 1995 "Avant-garde Art and the Problem of Theory" The Journal of Aesthetic Education (Fall). Reprinted in The Adventures of Avant-garde from Dandyism to Postmodernism (eds. D'Acierno & Lekatsas) Westport, Ct: Greenwood Press. "Danto, Style, and Intention" The Journal of Aesthetics and Art Criticism 53:3 (Summer), pp. 251-57. "Enjoying Horror Fictions: A Reply to Gaut" British Journal of Aesthetics 35:1 (January), pp. 67-72. "Options for Contemporary Dance Criticism", in Anthology on Dance Criticism (eds. Lynn Blom and Susan Lee) Pittsburgh: University of Pittsburgh Press. "Towards an Ontology of the Moving Image", in Philosophy and Film (eds. Cynthia A. Freeland and Thomas E. Wartenberg). Routledge, pp. 68-85. 1996 "Cracks in the Acoustic Mirror", in Theorizing the Moving Image, pp. 336-42. "Defining the Moving Image", in Theorizing the Moving Image, pp. 49-74. "Film, Attention, and Communication", in M.J.Adler (ed), The Great Ideas Today (Encyclopedia Britannica). "Moderate Moralism" British Journal of Aesthetics 36:3 (July), pp. 223-38. "Moral Realism in the Age of Postmodernism", in Ethics and Aesthetics: The Moral Turn of Postmodernism (ed. Hoffman-Gerhard, ed. Hornung-Alfred: Heidelberg: Carl Winter Univ. verl. "Nonfiction Film and Postmodernist Skepticism", in Post-Theory, pp. 283-306. "A Note on Film Metaphor" Journal of Pragmatics. Reprinted in Theorizing the Moving Image. "The Paradox of Suspense", in Suspense: Conceptualizations, Theoretical Analyses, and Empirical Explorations (eds. Vorderer, Wulff & Friedrichsen), pp. 71-92. "Prospects for Film Theory: A Personal Assessment", in Post-Theory, 37-68. "Replies to Hammett and Allen", in Theorizing the Moving Image, pp. 360-72. 1997 "The Concept of Postmodernism from a Philosophical Point of View", in Bertens, Fokkema & Valdes (eds), International Postmodernism: Theory and Literary Practice. (Amsterdam, Netherlands: Benjamins). "Danto's New Definition of Art and the Problem of Art Theories", The British Journal of Aesthetics 37:4 (October), pp. 386-92. "Fiction, Non-Fiction, and the Film of Presumptive Assertion: A Conceptual Analysis", in Film Theory and Philosophy (ed. Murray Smith). "The Intentional Fallacy: Defending Myself", Journal of Aesthetics and Art Criticism 55:3, 305-310. "Kracauer's Theory of Film", in Peter Lehman (ed.), Defining Cinema. (New Brunswick, NJ: Rutgers UP) "The Ontology of Mass Art" The Journal of Aesthetics and Art Criticism 55:2 (Spring), pp. 187-99. "Periodizing Postmodernism?" Clio 26 (Winter), 143-65. "Words, Images, and Laughter", Persistence of Vision 14, pp. 42-52 1998 "Art, Narrative and Moral Understanding", in Aesthetics and Ethics: Essays at the Intersection (ed. Jerrold Levinson) Oxford: Clarendon Press, pp. 126-160. "The End of Art?", History and Theory 37:4 (December), pp. 17-29 "Expression, Rhythm and Dance: A Response to Gregory Scott" (with Sally Banes), Dance Research Journal 30:1 (Spring), pp. 15-24. "The Essence of Cinema?", Philosophical Studies 89:2-3 (March), pp. 323-30. "Film: Motion Pictures", "Morality and Aesthetics: Historical and Conceptual Overview", and "Politics and Aesthetics: Historical and Conceptual Overview", entries in Encyclopedia of Aesthetics, Michael Kelly (ed). "Is the Medium a (Moral) Message?", in Media Ethics, Matthew Kieran (ed.) Routledge, pp. 135-151. "Moderate Moralism versus Moderate Autonomism", The British Journal of Aesthetics 38:4 (October), pp. 419-24. 1999 "Defending Mass Art: A Response to Kathleen Higgin's 'Mass Appeal'", Philosophy and Literature 23:2 (October), 378-86. "Film, Emotion, and Genre", in Carl Plantinga & Greg M.Smith (eds), Passionate Views: Film Cognition, and Emotion (The Johns Hopkins University Press, 1999), pp. 21-47. "Horror and Humor", The Journal of Aesthetics and Art Criticism 57:2 (Spring), 145-60.
Maintained by Ludvig Hertzberg
|