Examines the role of critical language in film criticism. Compares and contrasts Monroe Beardsley's philosophy on film aesthetics with the New Criticism. Outlines some of the contributions Beardsley has made to the study of film criticism. (KM)

Hugo Munsterberg's "The Film: A Psychological Study" is one of the earliest essays in the area of film theory. Unfortunately, it has remained relatively unknown since its publication in 1916. The author discusses two concepts raised by Munsterberg: the contrast between films in the theatrical mode and films in the cinematic mode.…

In April, 1978, 109 chairpeople of academic radio and television departments were surveyed concerning the instruction they provide in television aesthetics and criticism. From the 63 responses, these findings are discussed: courses offered, perceived importance of these courses, pedagogical goals, and operational definitions of television…

The relationship of film meaning to film criticism and film education is examined. Film scholarship needs to be more self-conscious in regard to the language used and to its value assumptions. (RM)

What are the moral limits of artistic license? A strong case can be made for the view that there are none; that in viewing works of art people should resist ethical criticism, and, "a fortiori," resist moral strictures on the artist's inventiveness. This view has recently been defended by Richard Posner, who argues that people should not expect…