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Memory and Imagination in FilmIntroduction

Memory and Imagination in Film: Introduction [In recent decades, literary criticism, art and film criticism have been dominated by formalist, psychoanalytical and cultural studies approaches; but since the 1980s, many disciplines — from economics to political science, philosophy, psychology, history, law, biology and the neurosciences — have taken an affective turn which guided my perspective in this book. The great variety of affective phenomena (emotions, sentiments, moods and feelings) has been the object of many definitions, investigations, hypotheses and experimental tests in questionnaires and brain-imaging. Topics which have always been common in novels, dramas and films — ambition, love, jealousy, regret, remorse, resentment, rage, trust, nostalgia, disgust and fear — have come to figure in many fields of knowledge; some analytical philosophers and psychologists have studied the emotions elicited by the arts. The research in affective phenomena implies the exploration of the mind and, drawing from the cognitive sciences, has refined the hard cognitivist approaches of the 1970s and has rejected the separation established by Emmanuel Kant between reason (Vernunft) and the emotions (Seele). This division has been dominant in Western thought and reinforced by most Romantic authors and thinkers, with some important exceptions. Traces of the dualist conception are visible in the rejection of reason and the logos that has been fashionable in literary theory since the late 1960s.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Memory and Imagination in FilmIntroduction

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Publisher
Palgrave Macmillan UK
Copyright
© Palgrave Macmillan, a division of Macmillan Publishers Limited 2014
ISBN
978-1-349-31743-1
Pages
1 –11
DOI
10.1057/9781137319432_1
Publisher site
See Chapter on Publisher Site

Abstract

[In recent decades, literary criticism, art and film criticism have been dominated by formalist, psychoanalytical and cultural studies approaches; but since the 1980s, many disciplines — from economics to political science, philosophy, psychology, history, law, biology and the neurosciences — have taken an affective turn which guided my perspective in this book. The great variety of affective phenomena (emotions, sentiments, moods and feelings) has been the object of many definitions, investigations, hypotheses and experimental tests in questionnaires and brain-imaging. Topics which have always been common in novels, dramas and films — ambition, love, jealousy, regret, remorse, resentment, rage, trust, nostalgia, disgust and fear — have come to figure in many fields of knowledge; some analytical philosophers and psychologists have studied the emotions elicited by the arts. The research in affective phenomena implies the exploration of the mind and, drawing from the cognitive sciences, has refined the hard cognitivist approaches of the 1970s and has rejected the separation established by Emmanuel Kant between reason (Vernunft) and the emotions (Seele). This division has been dominant in Western thought and reinforced by most Romantic authors and thinkers, with some important exceptions. Traces of the dualist conception are visible in the rejection of reason and the logos that has been fashionable in literary theory since the late 1960s.]

Published: Oct 13, 2015

Keywords: False Memory; Modern Life; Artistic Object; Mental Time Traveller; Affective Phenomenon

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