Reading Cavell's The World Viewed: A Philosophical Perspective on Film / Edition 1

by Marian Keane, William Rothman

Overview

A philosophical reexamination of Stanley Cavell’s The World Viewed.

In their thoughtful study of one of Stanley Cavell’s greatest yet most neglected books, William Rothman and Marian Keane address this eminent philosopher’s many readers, from a variety of disciplines, who have neither understood why he has given film so much attention, nor grasped the place of The World Viewed within the totality of his writings about film.

Rothman and Keane also reintroduce The World Viewed to the field of film studies. When the new field entered universities in the late 1960s, it predicated its legitimacy on the conviction that the medium’s artistic achievements called for serious criticism and on the corollary conviction that no existing field was capable of the criticism filmed called for. The study of film needed to found itself, intellectually, upon a philosophical investigation of the conditions of the medium and art of film. Such was the challenge The World Viewed took upon itself. However, film studies opted to embrace theory as a higher authority than our experiences of movies, divorcing itself from the philosophical perspective of self-reflection apart from which, The World Viewed teaches, we cannot know what movies mean, or what they are.

Rotham and Keane now argue that the poststructuralist theories that dominated film studies for a quarter of a century no longer compel conviction, Cavell’s brilliant and beautiful book can provide a sense of liberation to a field that has forsaken its original calling. read in a way that acknowledges its philosophical achievement, The World Viewed can show the field a way to move forward by rediscovering its passion for the art of film.

Reading Cavell’s The World Viewed will prove invaluable to scholars and students of film and philosophy, and to those in other fields, such as literary studies and American studies, who have found Cavell’s work provocative an fruitful.

Product Details

ISBN-13:	9780814328965
Publisher:	Wayne State University Press
Publication date:	11/01/2000
Series:	Contemporary Approaches to Film and Media Series
Edition description:	New Edition
Pages:	296
Product dimensions:	6.00(w) x 9.00(h) x 0.60(d)

About the Author

William Rothman is a professor of motion pictures and director of the Graduate Program in Film Studies at the University of Miami. He is the author of the definitive Hitchcock—The Murderous Gaze (Harvard University Press, 1982), The "I" of the Camera: Essays in Film History, Criticism and Aesthetics (Cambridge University Press, 1989), and Documentary Film Classics (Cambridge University Press, 1998)

Marian Keane is an assistant professor of film studies at the University of Colorado.

Table of Contents

	Preface	9
	List of Abbreviations	12
	Introduction	13
I	The Preface: A Metaphysical Memoir	35
II	Chapters 1-5: What Is Film?	42
III	Chapters 6-9: Film's Origins and History	87
IV	Chapters 10-11: The End of the Myths	127
V	Chapters 12-13: The World as a Whole	140
VI	Chapters 14-15: Automatism	174
VII	Chapters 16-18: Film and Theatricality	196
VIII	Chapter 19: "The Acknowledgment of Silence"	233
Appendix	Cavell's Philosophical Procedures and Must We Mean What We Say?	261
	Notes	279
	Index	285

Editorial Reviews

Stanley Cavell's The World Viewed is a masterpiece of philosophical reflection on the ontology and phenomenology of film, but, almost 30 years from its publication, it has proven difficult for some readers and for the field of Film Studies to assimilate. Now William Rothman and Marian Keane's commentary should make it possible for Cavell's book to take its appropriate place in our intellectual life. Their book is beautifully written, and not only corrects mistaken responses to Cavell but goes beyond exposition to interpretive commentary -this is a superb addition to the growing literature on Cavell's work.

Middlebury College - Stanley Bates

To the extend that Cavell's training in philosophy and the Whitmanesque poetry of his prose stand as barriers between readers and his accomplishments, the careful explications of those accomplishments provided by Rothman and Keane are deeply hopeful signs that film study is finally ready for Cavell. It's high time.

Film Criticism