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Naturalized Aesthetics and Criticism

On Value Judgments

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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Naturalized Aesthetics and Emotion Theory

Rainer Reisenzein

In Film, Art, and the Third Culture , Murray Smith advocates a naturalized aesthetics of film that is a version of what he calls cooperative naturalism—a form of naturalism in which “the knowledge and methods of the natural sciences come to

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Toward a Naturalized Aesthetics of Film Music

An Interdisciplinary Exploration of Intramusical and Extramusical Meaning

Timothy Justus

(2017), advocated applying the converging methods of the humanities, behavioral sciences, and natural sciences to craft a “naturalized aesthetics” of film. Smith takes inspiration from work concerning consciousness that has benefited from a triangulation

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FACT Is a Fact of Both Life and Art

Jerrold Levinson

– 525 . 10.1093/analys/anx087 Levinson , Jerrold . 2018 . “ Film, Art, and the Third Culture .” British Journal of Aesthetics . doi:10.1093/aesthj/ayx023 . Smith , Murray . 2017 . Film, Art, and the Third Culture: A Naturalized Aesthetics of Film

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Film, Art, and the Third Culture

A Naturalized Aesthetics of Film—Précis

Murray Smith

would draw upon and integrate the resources of disciplines spanning the natural and social sciences, the arts and the humanities. Where we do stand now in relation to Snow’s intervention? In Film, Art, and the Third Culture: A Naturalized Aesthetics of

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The Role of Scientific Research in Film Theory

Katherine Thomson-Jones

convinced to expand their current practices (whatever those are) by adopting Smith’s naturalized aesthetics. In this article, I would like to examine the precise role given by Film, Art, and the Third Culture to scientific evidence in understanding film

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Putting the Culture into Bioculturalism

A Naturalized Aesthetics and the Challenge of Modernism

Dominic Topp

culturally specific and which may avoid stylistic devices that mesh neatly with our natural capacities. In both his new book and elsewhere, Smith confronts this suspicion, and he is right to do so. If a naturalized aesthetics is going to explain our

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Constructing Film Emotions

The Theory of Constructed Emotion as a Biocultural Framework for Cognitive Film Theory

Timothy Justus

emotion and a naturalized aesthetics of film. Along the way, I'll discuss two films: Paul Leni's The Man Who Laughs (a silent from 1928) and Samuel Fuller's The Crimson Kimono (a noir from 1959), both of which embody questions concerning the extent to

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Questions about Aesthetic Experience

Paisley Livingston

, spontaneity, or what Stendhal called le naturel ( Elster 1986 ). In keeping with Smith’s call for a naturalized aesthetics, it may be appropriate here to observe that the thesis that there are unreflective aesthetic experiences is consistent with some work

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Collaboration in the Third Culture

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