DANIEL YACAVONE FILM WORLDS A PHILOSOPHICAL AESTHETICS OF CINEMAw ‘ahr Sine 89) aight © 25 Cs Ue Ps igh eed Lay fangs: agin Peon ate im le pilot wetetr of inem ail an, nde iting en ade se ph ap halk pape — nan Boan6o8 (Oh ak pe) — mor gos eb) 1. Maina plete 2 Mon pte—Phiophy Lie perder e Clu Uniesiy Pets pct on permanent od dre ae pp ‘Th ki pat on paper wh eed coe en he nied Sten coven nce nner sone @ ct ok rene tne (UR wee cates ef rng Nether te ahr oe cont ny Pet pn fr UR ht ma he ence carpe ‘Thanks to an instead of seeing one world ony, our wn, we see ‘hat world multiply iteelf and we have at our disposal as many words 2s thre ae original ass, words more ferent one from {he other than those which revolve in infinite space. Marcel Proust You see, once you sat down a road to make a film you enter 2 certain world, And certain things can happen in that world and certain things can... So yu begin to know these rules fr your ‘world, and you've got tobe tre to those rules David tynchefter ‘owed 8 Fictions, Narrative, and Aesthetic Enclosure 5 PART IL, WoRLDS OF stuROIS 37 symbolizaton, Meaning, and Art 39 5. FIEMMARING AS sYarROLIC TRANSFORMATION Go 4. Wavs OF CINEMATIC WoRtD-MAKING 86 5. REPRESENTATION, EXEMPLIFICATION, AND REFLEXIVITY ‘An Alternative Approach tothe Symbolic Dimension of ‘Cinematic At 14 PART 111, WORLDS OF FEELING 159 6. rons oF rreLiNe: ‘Mapping Afect and Emotions in Films 16.