2024/07/13 by Trevor Ponech · 1 voice
Economics, Econometrics and Finance · Arts and Humanities · Social Sciences · #Cinema and Media Studies #Shakespeare, Adaptation, and Literary Criticism #Digital Games and Media
paper · pdf · doi:10.1093/aesthj/ayae003
openalex publication_date 2024/07/13 · openalex created_date 2024/07/14 · openalex updated_date 2026/07/29
Abstract This essay details that which is arguably the essential nature of a ubiquitous kind of visual display prominently involved in a great many phenomena that people have in mind when they think and talk about the cinema. My argument begins with a summary and critique of an important precedent, Noël Carroll’s essentialist definition of the detached moving image display. The remainder of my discussion concentrates on the structure and dynamics of a particular sort of luminescent display. This display is essential to what I call the cinematic display. As I understand it, the cinematic display is neither the or a medium of cinema nor perforce a vehicle for artistic content. It is, rather, a luminescent display in service of someone’s presentational intentions. I conclude with thoughts about the ontological relation between cinematic displays and works, the latter tentatively defined as a display of expressive or artistic agency.