New Takes on Film and Imagination

Paragraph, Volume 43, Issue 3

Edited by Sarah Cooper

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Brings together an international range of film scholars whose current research engages with contrasting theoretical and philosophical approaches to imagination

In contemporary film theory, cognitivist specialists have demonstrated the most sustained interest in imagination, pioneering an earlier wave of scholarship on this topic, principally with reference to spectatorship. In the 1990s, investigations into identification and mental simulation on the part of spectators (Gregory Currie) and the theorization of viewers as imaginative agents (Murray Smith) spearheaded just some of the studies of imagining as a cognitive process, which took as their principal object of analysis mainstream cinema. This volume acknowledges the inspiration of earlier cognitivist accounts and is not conceived as a break with the old. It does seek, though, 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.

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New Takes on Film and ImaginationSarah Cooper

Mise en Esprit: One-Character Films and the Evocation of Sensory ImaginationJulian Hanich

The Auditory Imagination and the Polyphony of Listening: A Study of Chantal Akerman’s South (1999)Albertine Fox

Imagining Cinema: ‘Cinempathy’ and the Embodied ImaginationRobert Sinnerbrink

Imitation of Life: Cinema and the Moral ImaginationJane Stadler

Perceptual-Imaginative Space and the Beautiful Ecologies of Rose Lowder’s BouquetsSarah Cooper

‘The Cruel Radiance of What Is’: Empathy, Imagination and Estrangement in Johan van der Keuken’s Face Value and Herman SlobbeAbraham Geil

Sleeping away the Factory, Healing with Time: Gaston Bachelard, the Poetic Imagination and Testről és lélekről/On Body and Soul (2017)Saige Walton

Cinematic Imaging and Imagining through the Lens of BuddhismVictor Fan

Sarah Cooper is Professor of Film Studies at King’s College London. Her books include The Soul of Film Theory (Palgrave Macmillan, 2013), Chris Marker (Manchester University Press, 2008), and Selfless Cinema? Ethics and French Documentary (2006).

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