About the Authors

Rudolf Arnheim was Professor of the Psychology of Art at Harvard University. Among his publications are Toward a Psychology of Art, Visual Thinking, and Entropy and Art (University of California Press, 1966), Art and Visual Perception: A Psychology of the Creative Eye (University of California Press, 2004) and Film as Art (University of California Press, 1957).

André Bazin (1918 - 1958) was an important film critic and essayist. He founded and wrote for the legendary French journal Cahiers du Cinema. Among his publications are the two volumes of What Is Cinema? (University of California Press, 2004).

David Bordwell is Jacques Ledoux Professor of Film Studies and Hilldale Professor of Humanities at the University of Wisconsin-Madison. Among his books are Planet Hong Kong: Popular Cinema and the Art of Entertainment (Harvard University Press, 2000) and The Cinema Of Eisenstein (Routledge, 2005).

Noël Carroll is Professor of Philosophy at Temple University and is a past president of the American Society for Aesthetics. Among his influential publications are The Philosophy of Horror (Routledge, 1990 and Engaging the Moving Image (Yale University Press, 2003).

Stanley Cavell is Walter M. Cabot Professor Emeritus of Aesthetics and the General Theory of Value, Harvard University. Among his recent publications are Cities of Words : Pedagogical Letters on a Register of the Moral Life (Belknap Press, 2005) and Philosophy the Day after Tomorrow (Belknap Press, 2005).

Seymour Chatman is Emeritus Professor of Rhetoric at the University of California at Berkeley. Among his publications are Michelangelo Antonioni: The Investigation (Taschen, 2004) and Reading Narrative Fiction (Macmillan, 1992),

Angela Curran is assistant professor of philosophy at Carleton College in Northfield, Minnesota. Her work in philosophy of film includes an essay on tragedy and film horror, "Aristotelian Reflections on Horror and Tragedy in An American Werewolf in London and Sixth Sense," for Dark Thoughts: Philosophical Reflections on Cinematic Horror (2003); and "Consuming Doubts: Gender, Class, and Consumption in Ruby in Paradise and Clueless," for Hollywood Goes Shopping (2000).

Gregory Currie is Head of the Faculty of arts at University of Nottingham. Currie’s recent works include Arts and Minds (Clarendon Press, 2005), Recreative Minds: Imagination in Philosophy and Psychology (Oxford University Press, 2002), and Narrative Thinking, (forthcoming, Oxford, 2006)
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Gilles Deleuze (1925-1995) was Professor of Philosophy at the University of Paris VIII, Vincennes/Saint Denis. Among his influential works are Cinema 1: Movement-Image (University of Minnesota Press, 1986) and Cinema 2: The Time-Image (University of Minnesota Press, 1989).

Cynthia Freeland is Professor of Philosophy at the University of Houston. She is author of But Is It Art?: An Introduction to Art Theory (Oxford University Press, 2002) and co-editor of Philosophy and Film with Thomas Wartenberg (Routledge, 1995). She also edited Feminist Interpretations of Aristotle (Penn State Press, 1998).

Stephen Heath is a fellow of Jesus College, Cambridge, and the author of Questions of Cinema (Indiana University Press, 1985), among other influential books.

Pauline Kael was an influential film reviewer for The New Yorker from 1968 until her retirement in 1991. Among collections of her reviews is I Lost It at the Movies: Film Writings 1954-1965 (Marion Boyars Publishers, 1994).

Douglas Kellner holds the George F. Kneller Chair in the Philosophy of Education at the Graduate School of Education, UCLA. His works include Television and the Crisis of Democracy (Westview Press. 1990), Postmodern Theory: Critical Interrogations (Guilford Press, 1991), and The Persian Gulf TV War (Westview Press, 1992).

Joseph Kupfer is Professor of Philosophy at Iowa State University. Professor Kupfer’s publications include Experience As Art: Aesthetics in Everyday Life (State University of New York Press, 1983) and Visions of Virtue in Popular Film (Westview Press,1999).

Hugo Münsterberg (1863–1917) was a German-born psychologist who was Professor of Psychology at Harvard. His 1916 book The Photoplay: A Psychological Study (Dover, 1916) has been called the first major work of film theory.

Deborah Parker is Professor of Italian at The University of Virginia. Her most recent book, The DVD Revolution in Film, is forthcoming from Duke University Press.

Mark Parker is Professor of English at Randolph Macon College. His most recent book is Literary Magazines and British Romanticism (Cambridge University Press, 2001).

Carl Plantinga is Professor of Film Studies at Calvin College. He is the editor of Passionate View : Thinking about Film and Emotion (The Johns Hopkins University Press, 1999) and the author of Rhetoric and Representation in Nonfiction Film (Cambridge University Press, 1997).

Trevor Ponech is Professor of English at McGill University. He is the author of What Is Non-Fiction Cinema?: On the Very Idea of Motion Picture Communication (Westview Press, 1999).

Michael Ryan is Professor of English at Northeastern University. He is the author of Camera Politica: The Politics and Ideology of Contemporary Hollywood Film with Douglas Kellner (Indiana University Press, 1990) and Politics and Culture: Working Hypotheses for a Post-Revolutionary Society (The Johns Hopkins University Press, 1999).

Andrew Sarris was Professor of Film in the School of the Arts at Columbia University, and Film Critic for the New York Observer since 1989. Among his numerous works are Confessions of A Cultist: on the Cinema 1955-1969 (Simon & Schuster, 1970), John Ford Movie Mystery (Indiana University Press, 1983), and You Ain't Heard Nothin' Yet: The American Talking Film, 1927-1949 (Oxford University Press, 1999).

Murray Smith is Professor of Film Studies, University of Kent at Canterbury. He is the author of Engaging Characters:Fiction, Emotion, and the Cinema (Clarendon Press, 1995). He is the co-editor with Richard Allen of Film Theory and Philosophy (Oxford University Press, 1999) and with Stephen Neale of Contemporary Hollywood Cinema (Routledge, 1998).

Francois Truffaut first came to prominence in the mid-1950s as a film critic for Cahiers du Cinéma, the noted French film journal. A number of Truffaut's cinematic works are permanent features of the film landscape of the 1950s and 1960s, including Four Hundred Blows (1959), Shoot the Piano Player (1960), Jules and Jim (1962), and The Soft Skin (1964). His publications include Films in My Life (Da Capo Press, 1994) and Hitchcock (Simon & Schuster, 1985).

Malcolm Turvey teaches at Sarah Lawrence College. He co-edited Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson (Amsterdam University Press, 2002).

Kendall L. Walton is Professor of Philosophy at the University of Michigan
Among his works are Mimesis as Make-Believe : On the Foundations of the Representational Arts (Harvard University Press, 2004), Listening, Looking, and Imagining: Essays in Aesthetics (Oxford University Press, 2005), and In Other Shoes: And Other Essays (Oxford University Press, 2005).

Thomas Wartenberg is Professor of Philosophy at Mount Holyoke College. Phis publications include Unlikely Couples: Movie Romance As Social Criticism (Westview Press, 1999), The Nature of Art (Wadsworth Publishing, 2001), Philosophy and Film edited with Cynthia Freeland (Routledge, 1995), and The Philosophy of Film: Introductory Text and Readings edited with Angela Curran (Blackwell Publishers, 2005).

George Wilson is Professor of Philosophy at University of Southern California. His works include Narration in Light: Studies in Cinematic Point of View (The Johns Hopkins University Press, 1988).