(2004), Green (1989), Korta and Perry (2008), Levinson (2000), Parikh (2010), Recanati (2004), Sperber and Wilson (1986/1995), Saul (2002), Stanley and Szabo (2000) and Taylor (2001). The exceptions, on the other hand, would be Bach (1999a, 2005), Neale (2004, 2016) and Fodor and Lepore (2004) (for a recent discussion, see the exchange between Korta and Perry (2019a, 2019b) and Devitt (2019) in the Journal of Pragmatics.)

Relevance theory, for example, certainly takes pragmatics to be the study of the comprehension processes of the utterance on the part of the hearer (Sperber and Wilson (1986/1995), Carston (2002), Wilson and Sperber (2012)). And, as Devitt claims, the study of those processes should not be confounded with the study of what constitutes the pragmatic properties of an utterance. In this case, however,A story of a withdrawn boy tasked by police with painting white outlines around the bodies of young victims, the film is currently in production.

The boy is "really a metaphor for desensitized children who have seen too much violence," Cooper said. "And if that doesn't pull your heartstrings, I don't know what will."

Director/writer Kevin Cooper examines angles on the set of "The Painter."
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DNAinfo/Darryl Holliday

"This [film] is my little voice in the choir," he added. "We're all a little to blame for allowing children to suffer in that way."

Cooper, best known for his work in the films "Secondhand Lions" and "I Heart Shakey," said he wrote "The Painter" last year in a single night — during the hot summer when gun violence in the city traditionally reaches