New Takes on Film and Imagination: Paragraph, Volume 43, Issue 3

Cognitivist specialists have demonstrated sustained interest in imagination, pioneering earlier scholarship on spectatorship. Recent studies have explored identification, mental simulation, and viewers as imaginative agents, focusing on mainstream cinema. This volume acknowledges the inspiration of earlier accounts and seeks to explore new questions and open consideration of film and imagination to other theories and philosophies, as well as a broader selection of films.

Format: Paperback / softback
Length: 128 pages
Publication date: 30 November 2020
Publisher: Edinburgh University Press

Contemporary film theory has seen a significant surge of interest in the concept of imagination, with cognitivist specialists leading the way. In the 1990s, studies into identification and mental simulation by spectators (Gregory Currie) and the theorization of viewers as imaginative agents (Murray Smith) marked a pivotal moment in the exploration of imagining as a cognitive process. This volume builds upon earlier cognitivist accounts while also seeking to expand the scope of cognitive enquiry and open up film and imagination to other theories and philosophies, as well as a broader selection of films.

One of the key themes in contemporary film theory is the relationship between imagination and spectatorship. Cognitivist specialists have argued that imagination plays a crucial role in the way that spectators engage with films. They suggest that spectators use their imagination to create mental representations of the characters, settings, and events depicted in the film, which in turn influence their emotional responses and interpretations of the film.

One of the most influential works in this area is Gregory Currie's book "The Psychology of Imagination in Film." Currie argues that imagination is a fundamental cognitive process that is essential for human development and that it plays a crucial role in the way that we understand and interpret the world around us. He suggests that imagination is not just a passive process of receiving information, but rather an active process of creating and manipulating mental representations.

Currie's work has been particularly influential in the study of identification and mental simulation. He argues that spectators use their imagination to identify with the characters in the film, to experience their emotions and thoughts, and to simulate their actions. This process can be particularly powerful in films that deal with complex and emotional issues, such as trauma, violence, and love.

Murray Smith's book "The Cognitive Theory of Film" also explores the relationship between imagination and spectatorship. Smith argues that imagination is not just a cognitive process that occurs during the viewing of a film, but rather a process that is ongoing throughout the entire film-making process. He suggests that filmmakers use their imagination to create and manipulate the images and sounds that are used in the film, and that this imagination can have a significant impact on the way that the film is perceived by the audience.

Smith's work has been particularly influential in the study of film aesthetics. He argues that imagination is a key factor in the way that films are able to create meaning and emotion. He suggests that films that are able to engage the imagination of the audience are more likely to be successful than films that rely solely on technical or narrative elements.

In addition to these works, contemporary film theory has also explored the relationship between imagination and other theories and philosophies. For example, some scholars have argued that imagination is a key factor in the way that we understand and interpret the world around us. They suggest that imagination is not just a cognitive process, but rather a spiritual or metaphysical process that allows us to connect with the world in a deeper way.

Other scholars have argued that imagination is a key factor in the way that we develop our moral and ethical values. They suggest that imagination is a way for us to explore different possibilities and to consider the consequences of our actions.

Despite the significant interest in imagination in contemporary film theory, there are still many unanswered questions. For example, it is unclear how imagination is related to other cognitive processes, such as memory and attention. It is also unclear how imagination is related to other aspects of human experience, such as creativity and imagination.

In order to address these questions, contemporary film theory has begun to explore a range of new approaches. For example, some scholars have begun to use neuroscience to study the brain and to understand how imagination is related to other cognitive processes. Others have begun to use philosophy to explore the ethical and moral implications of imagination.

In conclusion, contemporary film theory has seen a significant surge of interest in the concept of imagination, with cognitivist specialists leading the way. This volume acknowledges the inspiration of earlier cognitivist accounts while also seeking to explore questions that were not covered in that earlier research and thereby further cognitive enquiry, as well as open consideration of film and imagination to other theories and philosophies, in addition to a broader selection of films. By exploring the relationship between imagination and spectatorship, we can gain a deeper understanding of the way that films are able to create meaning and emotion.

Weight: 264g
Dimension: 156 x 233 x 9 (mm)
ISBN-13: 9781474477604