By Ted Nannicelli
Recently, students in various disciplines―including philosophy, movie and media stories, and literary studies―have develop into attracted to the aesthetics, definition, and ontology of the screenplay. To this finish, this quantity addresses the elemental philosophical questions on the character of the screenplay: what's a screenplay? Is the screenplay art―more in particular, literature? what sort of a specific thing is a screenplay? Nannicelli argues that the screenplay is a type of artefact; as such, its obstacles are decided jointly by means of screenwriters, and its ontological nature is decided jointly via either writers and readers of screenplays. Any believable philosophical account of the screenplay needs to be strictly limited through our collective artistic and appreciative practices, and needs to realize that these practices point out that a minimum of a few screenplays are artworks.
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45 A central one is that from the fact that some concepts cannot be defined, or that art (or any other concept) What Is a Screenplay? 25 has not yet successfully been defined, it certainly does not follow that art (or any other concept) is indefinable. Similarly, from the fact that not all concepts are classically structured, it does not follow that none are; from the fact that some kinds do not have essences, it does not follow that none do. I shall say something more about this presently. First, though, I want raise one other objection and say something about the family-resemblance approach.
51 How many different, related kinds of “screenplays” would be generated from these different forms of “screen writing”? And how would they be distinguishable from constitutive parts of films, such as performances, or entire films themselves? 26 A Philosophy of the Screenplay This specific problem is symptomatic of the general difficulty with the family-resemblance approach: It cannot successfully pick out members of a given category because the principle of resemblance is too broad to distinguish genuine category members from nonmembers that resemble genuine members in some fashion.
Applying an institutional theory, for example, would result in something like a proposal that screenplay-hood is a sort of status conferred upon particular verbal objects by a member or members of an informal institution such as the screenplay world or, at least, someone with the appropriate authority to confer the status. 54 What Is a Screenplay? 27 How, in this account, could screenplay-hood be understood independently of the concept of screenplay? Instead, I want to attempt to formulate an intentional–historical definition.