Relation of Moral Defect and Aesthetic Value of the Film from the Perspective of Moderate Moralism

In the context of the relationship between ethics and movies, we are faced with questions and different perspectives. The most important question is: Can you consider a film as bad from the aesthetic perspective, because of having moral defect? In answering this question, from Plato to the present different views are expressed: “radical moralism”, “moderate moralism”, “aestheticism”, “moderate autonomism”, “radical immoralism” and “moderate immoralism”. Among these views, “moderate moralism”, as one contemporary approaches claim that, compared to other approaches provides more appropriate explanation than other views about the relationship between ethics and art. This paper after defining some concepts such as moral defect and aesthetic value of film, has been expressed three kind of views of moderate moralism (Noël Carroll, Berys Gaut and Matthew Kieran views), and examines the relationship between the above two concepts from these perspectives. The results of this study shows that the most important contrasts between radical moralist perspectives and moderate moralist perspectives are criterions of covering moral evaluation, using “a pro tanto principle”  (insofar as principle) and “all things considered principle” and believing in plurality of art values. Also, moderate moralist perspectives have some divisions. Considering the criterions of covering moral evaluation, Carroll accepts the works that their moral defect have connection with audience absorb to art. The best examples for this sight are the narrative arts. Gaut accepts the works that have moral perspective and Kieran only accepts some of narrative arts. The other difference is using “sometimes” adverb (Carroll and Kieran) or “always” (Gaut) in relationship between moral aspect of art and its aesthetic aspect. From moderate moralist point of views, we can make a new film criticism model that considers the other aesthetic values. At the end of this research, this model has used for evaluating “The Getaway” and “A Clockwork Orange”.