ABSTRACT
In this chapter, the author delves deeper into the possibility that cinema may yield knowledge and considers some alternative replies to the alleged inability of art to convey nontrivial knowledge. The chapter opens with an overview of the classical debate, but then it focuses more closely on the debate that deals specifically with political art. The author takes issue with the view, defended by Conolly and Haydar, that political art can never promote new propositional knowledge. The discussion remarks the usefulness of the theoretical model introduced in the first chapters as it is argued that political films can afford different kinds of epistemic values. The analysis of The Golden Door serves as an example to prove that works that foster understanding of what it is like to be in a given situation can also be conducive to new propositional knowledge.
