Genre

The Routledge Companion to Philosophy and Film

Volumn , Issue , 2008, Pages 152-161

  Laetz, Brian ^a   Lopes, Dominic McIver ^a  

^a UNIVERSITY OF BRITISH COLUMBIA   (Canada)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85105674131     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203879320-20     Document Type: Chapter

References (28)

1. Altman, R. (2003) “Genre,” in B. K. Grant (ed.) Film Genre Reader III, Austin: University of Texas Press.
2. Boden, M. (2004) The Creative Mind: Myths and Mechanisms, London and New York: Routledge.
3. Braudy, L. (1999) “Genre: The Conventions of Connection,” in L. Braudy and M. Cohen (eds.) Film Theory and Criticism: Introductory Readings, New York: Oxford University Press.
4. Buscombe, E. (2003) “The Idea of Genre in the American Cinema,” in B. K. Grant (ed.) Film Genre Reader III, Austin: University of Texas Press.
5. Carroll, N. (1990) The Philosophy of Horror, or Paradoxes of the Heart, New York: Routledge.
6. Cavell, S. (1996) Contesting Tears: The Hollywood Melodrama of the Unknown Woman, Chicago: University of Chicago Press.
7. Cawelti, J. (1976) Adventure, Mystery, and Romance: Formula Stories as Art and Popular Culture, Chicago: University of Chicago Press.
8. Currie, G. (2004) “Genre,” in Arts and Minds, Oxford: Clarendon Press; and New York: Oxford University Press.
9. Duff, D. (ed.) (2000) Modern Genre Theory, Harlow, UK; New York: Longman.
10. Gaut, B. (1997) “Film Authorship and Collaboration,” in R. Allen and M. Smith (eds.) Film Theory and Philosophy, Oxford: Clarendon Press; and New York: Oxford University Press.
11. Gaut, B. (2000) " ‘Art’ as a Cluster Concept,” in N. Carroll (ed.) Theories of Art Today, Madison: University of Wisconsin Press.
12. Goodman, N. (1976) Languages of Art, 2nd ed., Indianapolis: Hackett.
13. Grant, B. K. (ed.) (2003) Film Genre Reader III, Austin: University of Texas Press.
14. Horkheimer, M., and Adorno, T. (1972) “The Culture Industry,” in J. Cumming (trans.) Dialectic of Enlightenment, New York: Herder and Herder.
15. Kitses, J. (1969) Horizons West, Bloomington: Indiana University Press.
16. Lewis, D. (1978) “Truth in Fiction,” American Philosophical Quarterly 15: 37-46.
17. Lopes, D. M. (2007) “True Appreciation,” in S. Walden (ed.) Photography and Philosophy: New Essays on the Pencil of Nature, Malden, MA: Blackwell.
18. McArthur, C. (1972) Underworld U.S.A., New York: Viking.
19. Neale, S. (2003) “Questions of Genre,” in B. K. Grant (ed.) Film Genre Reader III, Austin: University of Texas Press.
20. Rohrbaugh, G. (2005) “Ontology of Art,” in B. Gaut and D. M. Lopes (eds.) Routledge Companion to Aesthetics, 2nd ed., London and New York: Routledge.
21. Sobchack, T. (2003) “Genre Film: A Classical Experience,” in B. K. Grant (ed.) Film Genre Reader III, Austin: University of Texas Press.
22. Staiger, J. (2003) “Hybrid or Inbred: The Purity Hypothesis and Hollywood Genre History,” in B. K. Grant (ed.) Film Genre Reader III, Austin: University of Texas Press.
23. Thomasson, A. (2005) “The Ontology of Art and Knowledge in Aesthetics,” Journal of Aesthetics and Art Criticism 63: 221-9.
24. Tudor, A. (2003) “Genre,” in B. K. Grant (ed.) Film Genre Reader III, Austin: University of Texas Press.
25. Walton, K. (1970) “Categories of Art,” Philosophical Review 79: 334-67.
26. Walton, K. (1990) Mimesis as Make-Believe, Cambridge, MA: Harvard University Press.
27. Warshow, R. (1962) The Immediate Experience: Movies, Comics, Theatre, and Other Aspects of Popular Culture, Garden City, NY: Doubleday.
28. Wollheim, R. (1980) Art and Its Objects, 2nd ed., Cambridge and New York: Cambridge University Press.