After expressing my enthusiasm for Murray Smith’s Film, Art, and
the Third Culture, I offer a critical discussion focused upon the place of the
experiential-phenomenological dimension in Smith’s naturalized aesthetics.
I look closely at two films, Béla Tarr’s The Turin Horse (2011) and Jonathan
Glazer’s Under the Skin (2013), in relationship to Smith’s claims about the
qualia filmmakers impart to their creations and the highly specific states of
mind, emotional and otherwise, that they manage to express and to evoke