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PART I Artistic and Aesthetic Value
Introduction
Artistic and Aesthetic Value
Ted Nannicelli and Mette Hjort
Perhaps it will strike readers as odd that widespread acceptance of motion pictures as an art form is a relatively recent development—one that emerged out of a century-long debate about whether motion pictures could be art and, if so, under what conditions (see, e.g., Canudo [1911] 1980; Lindsay [1915] 2000; Arnheim [1933] 1957; Perkins 1972; Sesonske 1974; Scruton [1983] 2006; Carroll 1988.) With the benefit of the knowledge that movies and television were the dominant popular art forms of the 20th century, it may seem obvious that we value motion pictures as artworks and, furthermore, that this is often because of the aesthetic pleasure they afford.
However, such an apparently casual observation immediately raises a number of complex questions: On what conception of “art” and under what conditions are motion pictures artworks? What does it mean to say that we value a motion picture as an artwork, or to say that it has artistic value? How does artistic value relate to aesthetic value? And in what ways do the artistic value and aesthetic value of motion pictures depend upon things like the content of what