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Film Theory and Philosophy, Oxford: Clarendon Press, 60–75. Wilson, G. M. (1986) Narration in Light: Studies in Cinematic Point of View, Baltimore: Johns Hopkins University Press. ——— (2011) Seeing Fictions in Film: The Epistemology of Movies, Oxford: Oxford University Press. I What Is the Relation between the Art and the Technology of Film? Part Chapter 1 Cinematic Art and Technology Berys Gaut Chapter Overview In this chapter I argue that cinematic art is dependent on cinematic technology, and that the proper appreciation of cinematic artworks is partly dependent on understanding their technological features.
That sounds odd. To clarify, consider an example. Graphite is a material that can be used in various ways— for instance, as a lubricant or to make drawings. What constitutes a graphite pattern as a drawing is not the pattern itself, for a lubricant pattern might be identical to a drawing’s pattern, but rather the fact that the pattern is used in the medium of drawing. Not all drawings are artworks: Most technical drawings and doodles are not. But one can use drawings for artistic purposes—that is, to realize artistic values.
Films are often thought to be particularly affecting because of their realism. And choices over how to convey story events are often explained by the filmmakers’ attempt to create certain emotional effects—for example, suspense. Compared with other art forms, particularly with other representational art forms, it is frequently observed just how easily and how powerfully we are moved by films. The ways in which we can be moved by different films are rich and varied, but responses to any particular movie tend to converge among audience members.