Aesthetic and Artistic Autonomy (Bloomsbury Studies in

Author note: Owen Hulatt (Editor)

Whether artwork should be completely self sustaining has been again and again challenged within the glossy heritage of aesthetics. during this selection of specially-commissioned chapters, a staff of specialists talk about the level to which artwork should be defined only by way of aesthetic categories.

Covering examples from Philosophy, track and artwork historical past and drawing on continental and analytic assets, this quantity clarifies the connection among works of art and extra-aesthetic issues, together with old, cultural or financial elements. It offers a accomplished assessment of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular works of art themselves. by way of heavily studying how the production of artistic endeavors, and our decisions of those artistic endeavors, relate to society and historical past, Aesthetic and creative Autonomy presents an insightful and sustained dialogue of an incredible query in aesthetic philosophy.

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Stiles provides a drug ingredient to Dr D. , assigned to ferry drugs into the prison by giving it to Stiles. When Stiles refuses, the woman is arrested and Dr D. has Stiles murdered. When Stiles tells Murphy that he ‘ain’t waiting the Man’s three months’, Murphy begins to say something, possibly a warning, but stops, indicating that he is uneasy. Murphy is opposed to getting involved with others, even to the point of not giving advice. His social disengagement is motivated by a fear that involvement with others infringes on self-definition.

As Stiles laughs and cheers about his daughter, Murphy replaces the water he lost while running, and although Murphy finally looks at the photo that Stiles thrusts at him, he does so grudgingly. Rather than enduring his sentence as Murphy does, Stiles complains, asking how he will last another three months without seeing his family. Murphy’s answer is as simple as his cell: ‘Can’t do the time, don’t mess 44 The Films of Michael Mann with crime; that’s the price you pay for rehabilitation’, a cliché which is nonetheless apt for their situation (and repeated in Miami Vice twentyseven years later).

Wartenberg (1995), Mary M. Leitch (2002), Christopher Falzon (2002), Stephen Mulhall (2002), Richard Allen and Murray Smith (1997), Smith and Wartenberg (2006). The chapter traces the history and development of existentialism, relating it to a particular tradition within fiction and film, and explains the philosophy itself with reference to Mann’s work. The chapter also identifies the concept of social engagement and how it is related to existentialism within Mann’s films. Finally, a specific Mann film is analysed in relation to a specific existential text.

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