期刊名称：Cinema : Journal of Philosophy and the Moving Image
电子版ISSN：1647-8991
出版年度：2010
期号：1
页码：1-6
出版社：New University of Lisbon
摘要：Since its beginnings, cinema has been the subject of philosophical investigation on the both sides of the Atlantic. Early in the twentieth century, Henri Bergson (1907) and Hugo Munsterberg (1916) offered, arguably, the first deep philosophical reflections on the recently born art. From the outset, their inquiries reflected different philosophical engagements and traditions. Bergson’s ideas were highly influential in continental Europe and inspired a significant amount of artistic production that persisted, at least until the beginning of the Second World War. Munsterberg’s pioneering study was almost forgotten, until the revived interest from cognitive film theorists in the nineties. During the twentieth century, in continental Europe, cinema inspired deep philosophical investigations about its nature, functioning, and reception — integrating, for the most part, the influences of Gilles Deleuze, Maurice Merleau-Ponty, Theodor Adorno, Walter Benjamin, amongst others. Within analytical philosophical traditions, with the exception of Stanley Cavell’s work since the seventies, the philosophical issues related to cinema found little expression until the last two decades when a change occurred. This change spearheaded innovative research and from it emerged new issues and questions, establishing a body of literature from philosophers like Noël Carroll, George M. Wilson, Gregory Currie, Paisley Livingston, that has underpinned subsequent investigations and debates in this scholarly field.
