ABSTRACT
This chapter focuses on epistemological in character and tends to be articulated by the claim that bona fide aesthetic judgments can be formed only on the basis of first-hand perception. It examines the notion of perception in the light of extension problems (EP), taking the phenomenology of aesthetic experience as the starting point. The chapter explores two possible directions in which film analysts might develop the concept of perception. It also explores how the notion of perception could be enriched so as to revise Perceptual Requirement (PR) in an attempt to save it as a general aesthetic requirement. One aspect of aesthetic experience which existing versions of PR have tended to overlook is the great diversity that the film analysts find within the category of experience might loosely refer to as aesthetic appreciation. Such appreciation can vary enormously from case to case, and not just, as is well-acknowledged, from artform to artform.
