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Stacie Friend

In Film, Art, and the Third Culture (FATC) , Murray Smith articulates and defends an approach to aesthetics generally, and to film specifically, that exemplifies a naturalized aesthetics . Borrowing C. P. Snow’s (1956) famous terminology, Smith

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Jerrold Levinson

I am full of admiration for Murray Smith’s Film, Art, and the Third Culture , which for convenience and with slight liberty I refer to as FACT . For one, it is among the most enjoyable reads I have ever had from a book in aesthetics. For another

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Paisley Livingston

These brief comments focus on only one of the many strands of Murray Smith’s (2017) wide-ranging and excellent new book Film, Art, and the Third Culture , namely his discussion of aesthetic experience. Smith claims that aesthetic

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Katherine Thomson-Jones

Murray Smith’s new book, Film, Art, and the Third Culture , offers an elaboration and defense of scientifically informed theorizing about the arts in general and film in particular. Interestingly, this is also a defense of philosophical naturalism

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Laura T. Di Summa-Knoop

Murray Smith’s attempt to provide a naturalized aesthetics of film in Film, Art, and The Third Culture is both decidedly ambitious and wisely orchestrated. It is ambitious because of the criticism that has been leveled against naturalized

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Naturalizing Aesthetic Experience

The Role of (Liberated) Embodied Simulation

Vittorio Gallese

In his latest book, Film, Art, and the Third Culture (2017), Murray Smith provides a refreshing, timely, and thought-provoking proposal on the relationship between film, art, and science by adopting a third-culture perspective. Namely, he

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Ted Nannicelli

perspectives—music theory, cognitive psychology, and cognitive neuroscience. Following a model of naturalized aesthetics proposed by Murray Smith in Film, Art, and the Third Culture (see the book symposium in Projections 12.2), Justus argues for the

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Putting the Culture into Bioculturalism

A Naturalized Aesthetics and the Challenge of Modernism

Dominic Topp

can only presume that he was unfamiliar with Murray Smith. Far from limiting his attention to the “average, standardised” film, the “bad cinema” that Bellour (following Deleuze) sets against the “real cinema” of directors such as Chris Marker and Alain

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Toward a Naturalized Aesthetics of Film Music

An Interdisciplinary Exploration of Intramusical and Extramusical Meaning

Timothy Justus

Years and Moonlight . However, as cognitive film theorists we have many additional tools at our disposal. In the second part of the present article, I follow the example set by Murray Smith, who, in the recent book Film, Art, and the Third Culture

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Joerg Fingerhut


I will argue that the ambition to provide a naturalized aesthetics of film in Murray Smith’s Film, Art, and the Third Culture is not fully matched by the actual explanatory work done. This is because it converges too much on the emotional engagement with character at the expense of other features of film. I will make three related points to back up my claim. I will argue (1) that Smith does not adequately capture in what ways the phenomenon of seeing-in, introduced early in the book, could explain our complex engagement with moving images; (2) that because of this oversight he also misconstrues the role of the mirror neuron system in our engagement with filmic scenes; and (3) that an account of embodied seeing-in could be a remedy for the above. In order to demonstrate the latter point, I will show how such an account could contribute to the analysis of a central sequence in Alfred Hitchcock’s Strangers on a Train (1951) that Smith also discusses.