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dc.contributor.authorGlickman, Jack
dc.date.accessioned2021-09-07T19:32:03Z
dc.date.available2021-09-07T19:32:03Z
dc.date.issued1971-01-01
dc.identifier.urihttp://hdl.handle.net/20.500.12648/3392
dc.description.abstractI agree with much of Professor Sparshott’s argument. I would add that when film is not taken as a recording of events that occurred, it is taken as a recording of events that were contrived; and that it is taken as a recording entails that no film is taken as present time. When we are caught up in viewing a film, we are primarily concerned with the story. Our fundamental concern is not with the film’s space and time, but with certain characters in human situations. Our main concern is with human experience.
dc.subjectPhilosophy Of Film
dc.subjectFilm Theory
dc.subjectAesthetics
dc.subjectF. E. Sparshott
dc.titleOn Sparshott’s ‘Vision and Dream in the Cinema’
dc.typearticle
refterms.dateFOA2021-09-07T19:32:03Z
dc.description.institutionSUNY Brockport
dc.source.peerreviewedTRUE
dc.source.statuspublished
dc.description.publicationtitlePhilosophic Exchange
dc.contributor.organizationThe College at Brockport
dc.languate.isoen_US


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  • Philosophic Exchange
    Philosophic Exchange is published by the Center for Philosophic Exchange, at the College at Brockport. The Center for Philosophic Exchange was founded by SUNY Chancellor Samuel Gould in 1969 to conduct a continuing program of philosophical inquiry, relating to both academic and public issues. Each year the Center hosts four speakers, and each speaker gives a public lecture that is intended for a general audience. These lectures are then published in this journal.

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