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Introduction

From its beginnings in the later nineteenth century, film—“moving pictures”—posed problems for critics, philosophers, and others concerned with the nature of art. At one level it was an abstract question: could film, a product of mechanical reproduction, be an aesthetic object at all? At another level, it was a matter of mechanics and effects: what did film do, and how did it do it? At still another level, it was a matter of cultural hierarchy: how did film as a popular art form relate to the very well-established categories of the theater, painting, opera, and so forth? This chapter lays out central issues such as the distinction between representation and reproduction, the nature of the sound film, the proper sound accompaniment for a film, and the question of the audiovisual hybridity of the medium.

Oxford University Press

James Buhler

Oxford Scholarship Online

2018

Title: Introduction

Description:

From its beginnings in the later nineteenth century, film—“moving pictures”—posed problems for critics, philosophers, and others concerned with the nature of art.

At one level it was an abstract question: could film, a product of mechanical reproduction, be an aesthetic object at all? At another level, it was a matter of mechanics and effects: what did film do, and how did it do it? At still another level, it was a matter of cultural hierarchy: how did film as a popular art form relate to the very well-established categories of the theater, painting, opera, and so forth? This chapter lays out central issues such as the distinction between representation and reproduction, the nature of the sound film, the proper sound accompaniment for a film, and the question of the audiovisual hybridity of the medium.

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Introduction

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