Cinematic Art, Popular Culture and Philosophy

seminaria monograficzne

Serious interest in popular culture, cinematic dramas and philosophical aesthetics

Celem zajęć jest zaznajomienie studentów z podstawowymi zagadnieniami z zakresu współcze-snej filozofii kultury popularnej, estetyki analitycznej oraz filozofii filmu.

The course is designed to acquaint students with major issues within the contemporary philoso-phy of popular art and culture. The following issues will be discussed: (1) the high/low art de-bate in the philosophy of culture; (2) somaesthetics; (3) the paradox of emotion; (4) film and the contemporaneity; (5) modes of storytelling in television narrative dramas; (6) artification and everyday aesthetics.

(Please note, that the final list of readings is subject to change and negotiation according to stu-dents’ research interests)

Carroll N., The Philosophy of Mass Art, Oxford University Press, 1997.

Saito Y., Everyday Aesthetics, Oxford University Press, 2007.

Mittell J. Complex TV, New York University Press, 2015.

Shusterman R. „Form and Funk. The Aesthetic Challange of Popular Art”, British Journal of Aesthetics, 3 (31) 1991, pp. 213-230.

Gracyk T., „Searching for the Popular and the Art in Popular Art”, Philosophy Compass 2 (2) 2007, pp.380-295.

Irvin Sh., „The Pervasiveness of the Aesthetic in Ordinary Experience”, British Journal of Aes-thetics, 1 (48) 2008, pp. 29–44.

Naukkarinen O., ”Variations in Artification”, Contemporary Aesthetics, Special Issue: Artifica-tion, vol. 4;

Gerson M-J., „The World of Mad Men: Power, Surface, and Passion”, American Journal of Psychoanalysis, 71 (2011), pp. 370–375;

Butler, J. G., “Smoke Gets in Your Eyes: Historicizing Visual Style in Mad Men” [in:] Mad Men: Dream Come True TV, Edited by Gary R. Edgerton, London 2011, pp. 55–71.

Donnelly A. M., “The New American Hero: Dexter, Serial Killer for the Masses”, The Journal of Popular Culture (1) 45 (2012), pp. 15–26;

Force W. R., “The Code of Harry: Performing Normativity in Dexter”, Crime, Media, Culture, (3) 6 2011, ss. 329–345.

Jameson F., “Realism and Utopia in the Wire”, Criticism 3–4 (52) 2010, pp. 359–372;

Bramall R., Pitcher B., “Policing the crisis, or, why we love The Wire”, International Journal of Culture Studies, (1) 16 2013, pp. 85–98.

Sibley F., “Tastes, Smells, and Aesthetics” [in:] ibidem, Approach to Aesthetics, Oxford Uni-versity Press 2001;

Brady E., “Smells, Tastes and Everyday Aesthetics” [in:] Philosophy and Food, Ed. David Kaplan. Berkeley: California University Press, 2012.

Fokt S., “Pornographic Art – A Case from Definitions”, British Journal of Aesthetics, 3 (52) 2012, pp. 278–300;

Neill A., “The Pornographic, the Erotic, the Charming, and the Sublime” [in:] Art and Pornogra-phy. Philosophical Essays, Ed. Maes H., Levinson J., Oxford University Press 2012.

Parsons G., A. Carlson, “Functional Beauty in Contemporary Aesthetic Theory” [in:] Functional Beauty, Oxford University Press 2008;

Sauchelli A., “Functional Beauty, Perception, and Aesthetic Judgments” British Journal of Aes-thetics (1) 53 2012, pp. 41–53.

Acquired knowledge:

- Students know and understand advanced methods of analysis and interpretation from the canon of popular culture philosophy.

- Students know the most valuable and newest specialist literature on the issues of the philosophy of popular culture.

Acquired skills:

- Students have in-depth research skills, including the analysis of the works of other authors, the synthesis of various ideas and views.

Acquired social competences:

- Students have the ability to formulate critical opinions about cultural products on the basis of scientific knowledge and experience.

- attendance

- active participation

- final essay (4,500—5,500 words)

Dopuszczalna liczba nieobecności podlegających usprawiedliwieniu: 2