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Film Narrative Reception : Seeing-In, Imagined Seeing, and Imagining that| old_uid | 12650 |
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| title | Film Narrative Reception : Seeing-In, Imagined Seeing, and Imagining that |
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| start_date | 2013/06/21 |
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| schedule | 15h-17h |
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| online | no |
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| details | Séminaire FILE-FICTION |
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| summary | This talk initially addresses the debate about whether we imagine seeing characters and their actions in films. There are several different imagined seeing theses that have been advanced. What I shall call the general thesis is simply that we imagine, in some manner or other, seeing characters in films. I bypass the standard objections that have already advanced against this thesis, to argue that the concept of seeing-in can be used to develop an alternative account of our experience of fictional films that has all of the advantages of the general imagined seeing thesis, but none of the purported problems. I then turn to another, more controversial imagined seeing thesis which asserts that in engaging with mainstream narrative films, we do not imagine seeing characters directly, but through a motion-picture-like medium. Call this the mediated version. This version is important because it is a crucial step in arguing that mainstream films typically have narrators. I offer three objections to this thesis and show that an argument for the thesis offered by George Wilson can be undercut if we adopt the seeing-in account.
Finally, I ask about the actual contribution of the imagination in the reception of narrative films. It is plausible that our emotional involvement with a film-fiction requires at least propositional imagining The seeing-in view is compatible with the idea that there are many aspect of a fiction that we propositionally imagine. I distinguish three kinds or degrees of imaginative involvement in a fiction world, and, based on this distinction, try to resolve a debate about the nature of emotional responses to fiction. |
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| responsibles | Pelletier, Arcangeli |
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