A Companion to Motion Pictures and Public Value

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A Companion to Motion Pictures and Public Value

Contents

List of Illustrations

Guide

Pages

Acknowledgments

Biographical Notes

A Companion to Motion Pictures and Public Value General Introduction

Background Context, Aims, and Approach. Background Context

Aims

Approach

Explicating Key Concepts

Motion Pictures

Value

Public Value

Notes

References

PART I Artistic and Aesthetic Value. Introduction. Artistic and Aesthetic Value

Notes

References

1 A Plurality of Values Art, Fine Art, and Motion Pictures

Art as a Capacity for Skillful Making or Doing

The Value of Art

In Search of the Fine Arts

On Fine Art’s Value Qua Fine Art

On the Relations between Diverse Values in a Work

Note

References

Filmography

2 Public Aesthetics and Artistic Value in Iranian Cinema

Take One: The Private Artistic Value of a Royal Cinema

Take One (Again!): The Public Artistic Value of a Cross-Cultural Cinema

The Aesthetic and Artistic Value of Popular Cinema: Form-Oriented “Tehran Noir” and Formless Filmfarsi

The Evolution of Public Aesthetic and Artistic Values: Metaphorical Language in “New Wave” Films and “Poetic Cinema”

The Aesthetics of the Curved Sarv and Its Public Artistic Value in Cinema

An Outcry in Silence: A Hope for Heech/Nothingness

Notes

References

Filmography

3 Appreciating Nature through Film A Defense of Mediated Appreciation

Mediated Appreciation

Philosophers on Meditated Nature Appreciation

Two Problems with Mediated Appreciation

Poverty of Representation and Film

Film and the Appreciative Shift

Appreciative Aptness, Film, and Generative Mediation

Conclusion: Film, Nature, and Public Values

References

Notes

4 Reframing the Director Distributed Creativity in Filmmaking Practice

Introduction

Film-Directing—A First-Person Account

Distributed Creativity

Editing, Authorship, and Distributed Creativity

Distributed Creativity in Film History and Practice

Esfir Shub

Contemporary Collaborative Work of Hands, Minds, Tools, and Film Materials

Conclusion

References

Filmography

NOTES

PART II Moral Value/Ethical Value. Introduction. Moral Value/Ethical Value

References

5 Screen Stories as “Imaginative Ecology” A Thought Experiment

The Value of Thought Experiments

Ground Rules

Good-Making Qualities: Individual Screen Stories

Aesthetic and Other Delights

Critical and Reflective Thinking

Communal Values and Goals

Empathy and Kindness

Justice

Virtue and Vice

Moral Understanding

Inspiration

Experimentation

Bad-Making Qualities and the Principle of Maximum Freedom

Toward an Imaginative Ecology: Principles of Selection

Incompatible Ethical Goods

Varied Ethical Goods

Diversity and Its Limits

Historical and Social Context

Post-Film Practices

Public Value and a Healthy Imaginative Ecology

References

Filmography

6 Interactive Documentary and Ethics Toward an Ethics of Representativeness

Introduction

Interactive Technologies: Of Utopianism, Empowerment, and Evolution

Representation, Informed Consent, and Moral Attention

Authorship and Argument, Editorial Practices, and Rights

Participation, Labor, Data, and Algorithms

Public Service Media and Public Values

From Transparency to an Ethics of Representativeness

Conclusion

Notes

References

7 The Ethics of Filmmaking How the Genetic History of Works Affects Their Value

Production Ethics: On the Actual Attitudes behind the Implicit Attitudes of Works

An Artistically Relevant Spectrum of Ethical Merits and Demerits

Extreme Ethical Flaws and the Impossibility of Artistic Value: Let’s Do It and Leave Us Alone

Setting an Ethical Standard: Erik Poppe’s Utøya: July 22

Avoiding Ethical Flaws in the Genetic Histories of Future Cinematic Works

Acknowledgment

Notes

References

Filmography

8 Film Production and Ethical Criticism

Introduction

Labor

Vulnerable Talent

Environmental Ethics and Film Production

Conclusion

References

Notes

9 Emotion and the Cultivation of Ethical Attention in Narrative Cinema

Introduction

Narrative Ethics and Aesthetics: Cognitive and Phenomenological Accounts

Emotion and Empathy: Social Dimensions of Media and Moral Psychology

Cinema as a Conduit of Ethical Insight: The Example of Marjorie Prime

Conclusion

References

Notes

Part III Spiritual Value. Introduction. Spiritual Value

References

10 Abundant, at Ease and Expansive? The Influence of Māori and Polynesian Spirituality on 21st Century New Zealand Motion Pictures

Ease and Unease in Late 20th Century New Zealand Film Cultures

Significantly Spiritual Styles

The Networked Social/Spiritual in Contemporary New Zealand Cinema

Whakapapa in Film

Conclusion

References

Filmography

11 Secularity, Transcendence, and Film

A World Rent

The Thrall of Story

Displaying the Invisible

Guises of Holiness

An Effulgent Otherness

References

Filmography

12 The Poetics of Karma: Reincarnation and Romance

Film and Religion

Six Theses on Religious Value and Indian Cinema

Reincarnation Stories

Reincarnation and Karma

Reincarnation and Romance

The Aesthetics of Past-Life Recognition

References

Filmography

Note

Part IV Environmental/Ecological Value. Introduction. Environmental/Ecological Value

References

13 Ecocinema and Ecological Value

Nature Documentary, Environmental Documentary, and Ecological Awareness

An Inconvenient Truth

Koyaanisqatsi and the Qatsi Trilogy

Anthropocene

Extraction

Terraforming

Technofossils

Anthroturbation and Climate Change

Extinction

References

Filmography

Notes

14 From Content to Context (and Back Again) New Industrial Strategies for Environmental Sustainability in the Media

Introduction

From Content to Context

Environmental Management in Practice

From Context to Content: Brainprinting

Planet Placement

From Context to Content Management: Integrated Approaches

References

Filmography

15 Jordnær Creative A Danish Case Study of Green Filmmaking and Sustainable Production

Creating a Sustainable Impact in Education, Practice, and Politics

Teaching What Was Not Sufficiently Taught

What Makes Jordnær Creative “Tryhard,” and What Makes the Trying Hard

The Great Potential of the Danish Audio-Visual Industry

But What Difference Does It Make?

Try Hard—Results and Experiences. Eco Management–Systemic Change

Dressed for Battle

The Need for Political Collaboration and Change

What Exactly Has Jordnær Creative Done to Answer the Urgent Call to Action from the UN’s 17 SDGs?

Next Steps: Audience Awareness and Industry Standards

The Future of Green Production in Denmark

References

Part V Cultural, Social and Political Value. Introduction. Cultural, Social and Political Value

References

16 Color Charts A Cultural Chronicle of Non-Chinese Ethnic Images in Hong Kong Cinema

Introduction

Method

Documenting Cultural Openness

Inter-Ethnic Romance (and Lust)

The Fabricated Ethnicity in Kung Fu Films

Consumerism and Comic Relief

Identities on the Edge

Conclusion

Appendix: A Filmography

References

Notes

17 Film Policy, Social Value, and the Mediating Role of Screen Agencies

The Research Framework

Screen Agencies and Their Value Work

Economic and Cultural Value

Expanding Value: Social Value and Screen Agencies

Obstacles to Social Value

Conclusion

References

Notes

18 Cinema as Ceilidh and Hui The Place of the Audience within Emergent Perspectives upon a Folk Cinema

Audience-as-Gemeinschaft: The Notion of a First Audience

Ceilidhs on Screen: Traditional Gatherings and “Second Cinema” in Scotland

An In-Between Cinema: Community Commitment in the Work of the Amber Collective in Tyneside

Third Cinema: Jorge Sanjinés’ Cinema “With the People” in Bolivia

Fourth Cinema: Cinematic Huis in the Films of Barry Barclay

Conclusion

Notes

References

Filmography

19 The Past and Future of Public Value The End of an Illustrious Career or Its Reinvention?

Public Value

Public Value and Its Instrumentalities

Transforming Media and the Erosion of Public Value

Reregulating for the Public Interest

Conclusion

References

Part VI Cognitive, Educational, and Developmental Value. Introduction. Cultural, Social and Political Value

References

20 Representing the Redacted Depicting the “Torture Archetype” in Film

Zero Dark Thirty and Torture’s Archetype

The Archetype in Zero Dark Thirty

The Archetype in Anti-Torture Films

The Consequences of the Torture Archetype

Beyond the Archetype: Camp X-Ray and The Report

Conclusion: Torture, Beyond Critique

References

Filmography

21 Negotiating Power through Art Participatory Video and Public Value

Participatory Video, Participatory Documentary and “Voice”

Changing the Story and Participatory Video

The Art of the Films

Negotiating Power

Conclusion: Participatory Video and Public Value

References

Filmography

22 Virtual Reality and the Rhetoric of Empathy

Introduction

Empathy Machines…?

Embodying Another in VR

Empathy, Sympathy, and Understanding

Critique of (the) Empathy (Machine)

Conclusion

Notes

References

Filmography

Part VII The Value of Health. Introduction. The Value of Health

References

23 Narrative Sense-Making in the Service of Health—A Neurocinematic Approach

Narrative Sense-Making

Neurocinematics as a Window to Narrative Sense-Making

Experience of Narrative Nowness

A Window to Non-Typical Minds

Narrative Sense-Making in the Context of Mental Health

Understanding Narrative Sense-Making in Unhealthy Behaviors

Conclusion

Acknowledgments

References

Filmography

24 The Smoking Machine Public Health Films and Public Value in Britain and Denmark, 1950–1964

Introduction: Cinema, Utility, and Public Value

Smoking and Lung Cancer: Establishing the Link

Film and Health Education in 1920s–1950s Britain

Enlighten, Don’t Frighten: Cancer Campaigns in 1950s Denmark

Danish Cancer Education Films of the 1940s and 50s

Træk vejret! (Breathe!): The Discussion Film as Public Value

Statistics and Smoking Machines

The British “Smoking and Health” Campaign, 1962–

Conclusion

Notes

References

Filmography

Archival Sources

25 The Benefits of Genre Feel-Good Films as a Path to Health and Well-Being

Defining Health and Well-Being

The Feel-Good Film: Its History and Salient Features

Positive Emotions: Their Role in Health

Ethical Feel-Good Films in the Context of Positive Psychology

Concluding Remarks

Notes

References

Filmography

26 Movies in the Closed Wards Instruments of Mental Health in Military Psychiatry

Preparing the Mind for Battle

Films in the Hospital

Supplying Images to the Movie Inside the Mind

Notes

References

Index

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Edited by

Mette Hjort and Ted Nannicelli

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Consider in this regard David Bordwell’s laudatory description of what he justifiably takes to be the authorial virtuosity exhibited in the Coen brothers’ (2018) film, The Ballad of Buster Scruggs, a quirky, grim, and darkly comedic western. With characteristic precision, Bordwell limns some of the many ways in which this film’s mise en scène and montage manifest exceptional virtuosity. The film is replete with audacious, clever, surprising, and amusing camera angles and cuts, such as a shot that would appear to have been taken, rather absurdly, from inside the sound hole of a guitar being strummed by a cowboy singing on horseback. Bordwell’s remarks on the film focus almost entirely on its ingenious cinematic devices. One might consequently be led to think that his assumption is that cinematic virtuosity—the cleverness and novelty of artistic means, especially those exclusive to the cinematic medium or art form—is a final value, or something that is “good for its own sake.” Yet such is not the actual nature of Bordwell’s evaluative scheme, at least as I understand it. In this regard it is significant that he begins his piece on this film with the declaration that “Craft isn’t everything in art, but it is a lot.” If craft is not everything in a work of art, then there has to be something else. And what is that? Bordwell’s first assumption on this score is perhaps that the uptake of the work’s clever artistry is cognitively stimulating and pleasant. In other words, craft’s value is linked to the work’s power to occasion intrinsically valued experiences. A second assumption is that a pessimistic or bleak world view is a legitimate subject of artistic expression, and that the exceptional craft of the film is partly a matter of excellence (vividness, acuity, “artisanal precision”) of expression, another source of value. Still another relevant assumption is that the film is praiseworthy partly because it can serve as a rare and useful example for other filmmakers with regard to the art of efficient and worthwhile cinematic storytelling. Bordwell’s related claim about the film’s function as a “master class” thereby implies the instrumental merit of the film’s “quiet virtuosity of craft.” Bringing these points together, we can say that this expert critic does not value the film simply because craft or virtuosity is a final, self-sufficient value, or because the display of virtuosity stirs up admiration in him for no reason whatsoever. Instead, his independent appraisal of the multiple merits of the filmmakers’ project allow him to admire and recommend the exceptionally ingenious artistry that has been marshalled in its service.

To summarize these considerations, a broad assessment of a multi-faceted work of art will normally turn up a plurality of values, amongst which are those that are exclusively artistic. Yet the expression “exclusively artistic” is ambiguous. Given the broad conception of art set forth in Section 1, artistic value is a matter of the ability to engage in a skillful realization of intended ends, where high artistic merit requires exceptional skill in the realization of highly worthwhile ends, and where even a skillful and highly creative realization of bad ends is worthless. One of the sorts of value that may be identified in a work is a specifically aesthetic kind of merit—understood here as the work’s capacity, when contemplated appropriately, to occasion intrinsically valenced experiences not based on possessive or moral attitudes. Not all aesthetic merit is artistic merit, even in the broad sense of “artistic.” Given a less broad concept of art, namely, the aesthetic-value centered notion of fine art evoked in Section 3, specifically fine-artistic merit is a kind of power to occasion aesthetic experiences, and in particular, those based on the admiration of the artist’s skillful realization of worthwhile tasks. When skill is applied to the realization of worthwhile ends, along with the realization of a work’s primary, aesthetic goal, our overall admiration of a work of fine art as such may be grounded in a convergence of distinct kinds of value, such as aesthetic, epistemic, and moral value. What happens when distinct kinds of value-related qualities do not converge is the topic of the next section.

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