See also: Philosophy of film, Aesthetics, and Film theory
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Medium essentialism is a philosophical theory stating that each artform has its own distinctive medium, and that the essence of such an artform is dependent on its particular medium.[1] In practice, the theory argues that every artwork should manifest its essential properties, those which no other artform can employ. The theory relies on the presumption that every artform has a unique medium, and is divided into two main interpretations. The ‘limitation’ interpretation of medium essentialism argues that, due to their medium, some artforms should be constrained in their aspirations. The ‘productive’ interpretation reasons that a work's medium determines what content or style will function best, and that practitioners should pursue ventures aligning with the nature of this chosen medium.[1] Clement Greenberg is a prolific medium-essentialist in relation to modernist art, proposing that artists such as Jackson Pollock are successful because they properly exploit elements of their chosen medium, such as a painting's physical flatness.[2] However, medium essentialism was most propagated by film practitioners throughout the twentieth century, as it legitimised cinema as an artform for the first time.[3] Previously, film had been regarded as merely a recorded representation of a written play.[4] It is therefore most discussed today by film theorists, stemming from the work of critics such as André Bazin.[5] Regardless of the interpretation favoured, what constitutes a film's medium, and therefore essential meaning, has been heavily debated,[6] and has prompted the creation of several sub-theories. The theory has been widely discussed among contemporary film theorists[7] and has featured in the Anthology of the Philosophy of Film and Motion Pictures.[8]
Whilst medium essentialism is not merely a subcategory of the Essentialism theory,[6] it is relevant to the notion that certain characteristics are integral to every entity's purpose and identity.[9] Non-essentialism rejects the existence of such an 'essence'. Non-essentialism has been the view preferred by scholars such as Noël Carroll, criticising medium essentialism in relation to film.[10]
^ abChoi, Jinhee; Carroll, Noel (2005). Philosophy of Film and Motion Pictures: An Anthology. Oxford, United Kingdom: John Wiley and Sons Ltd. pp. 113–115. ISBN 1405120274.
^Schreyach, Michael (Spring 2015). "Re-created Flatness: Hans Hofmann's Concept of the Picture Plane as a Medium of Expression". The Journal of Aesthetic Education. 49 (1): 57. doi:10.5406/jaesteduc.49.1.0044. S2CID 13600078.
^Choi, Jinhee; Carroll, Noel (2005). Philosophy of Film and Motion Pictures: An Anthology. Oxford, United Kingdom: John Wiley and Sons Ltd. p. 59. ISBN 1405120274.
^Bordwell, David; Thompson, Kristin (2003). Film History: An Introduction. New York, USA: McGraw-Hill Company Inc. pp. 13. ISBN 9780070384293.
^Crawford, Donald (July 1969). "Reviewed Work: What Is Cinema? by André Bazin, Hugh Gray". Journal of Aesthetic Education. 3 (3): 159–161. doi:10.2307/3331711. JSTOR 3331711.
^ abLivingston, Paisley; Plantinga, Carl (2012). The Routledge Companion to Philosophy and Film. Taylor & Francis. p. 205. ISBN 9781281838032. OCLC 830038431.
^Sinnerbrink, Robert (2011). New Philosophies of Film : Thinking Images. Continuum. pp. 23–24. ISBN 9781441122575. OCLC 1043047181.
^Choi, Jinhee; Carroll, Noel (2005). Philosophy of Film and Motion Pictures: An Anthology. Oxford, United Kingdom: John Wiley and Sons Ltd. ISBN 1405120274.
^Cartwright, Richard L. (1968). "Some Remarks on Essentialism". The Journal of Philosophy. 65 (20): 615–626. doi:10.2307/2024315. JSTOR 2024315.
^Choi, Jinhee; Carroll, Noel (2005). Philosophy of Film and Motion Pictures: An Anthology. Oxford, United Kingdom: John Wiley and Sons Ltd. p. 114. ISBN 1405120274.
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