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  1. Vivid Abstractions: On the Role of Emotion Metaphors in Film Viewers' Search for Deeper Insight and Meaning.Anne Bartsch - 2010 - Midwest Studies in Philosophy 34 (1):240-260.
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  • American History X, Cinematic Manipulation, and Moral Conversion.Christopher Grau - 2010 - Midwest Studies in Philosophy 34 (1):52-76.
    American History X (hereafter AHX) has been accused by numerous critics of a morally dangerous cinematic seduction: using stylish cinematography, editing, and sound, the film manipulates the viewer through glamorizing an immoral and hate-filled neo-nazi protagonist. In addition, there’s the disturbing fact that the film seems to accomplish this manipulation through methods commonly grouped under the category of “fascist aesthetics.” More specifically, AHX promotes its neo-nazi hero through the use of several filmic techniques made famous by Nazi propagandist Leni Riefenstahl. (...)
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  • Infected by evil.James Harold - 2005 - Philosophical Explorations 8 (2):173 – 187.
    In this paper I argue that there is good reason to believe that we can be influenced by fictions in ways that matter morally, and some of the time we will be unaware that we have been so influenced. These arguments fall short of proving a clear causal link between fictions and specific changes in the audience, but they do reveal rather interesting and complex features of the moral psychology of fiction. In particular, they reveal that some Platonic worries about (...)
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  • Subjectivity in Film: Mine, Yours, and No One’s.Sara Aronowitz & Grace Helton - 2024 - Ergo: An Open Access Journal of Philosophy 11.
    A classic and fraught question in the philosophy of film is this: when you watch a film, do you experience yourself in the world of the film, observing the scenes? In this paper, we argue that this subject of film experience is sometimes a mere impersonal viewpoint, sometimes a first-personal but unindexed subject, and sometimes a particular, indexed subject such as the viewer herself or a character in the film. We first argue for subject pluralism: there is no single answer (...)
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  • Audiences’ Role in Generating Moral Understanding: Screen Stories as Sites for Interpretative Communities.James Harold - 2023 - In Carl Plantinga (ed.), Screen Stories and Moral Understanding: Interdisciplinary Perspectives. New York, New York: Oxford University Press. pp. 197-211.
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  • Less Is More: How the Language of Fiction Fosters Emotion Recognition.Emanuele Castano - 2024 - Emotion Review 16 (2):73-83.
    Stories, in pictorial format, orally narrated, and later on as narrative texts, have played a key role in human evolution and to this day continue to surreptitiously teach us things and skills. In recent decades, psychologists and cognitive scientists have begun documenting the role of stories, and particularly fiction, in refining our sociocognitive skills. In this essay, I focus specifically on how stories, particularly written fiction, hone our emotion recognition skills. I present a brief overview of existing theorizing and research (...)
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  • Virtues and vices – between ethics and epistemology.Nenad Cekić (ed.) - 2023 - Belgrade: Faculty of Philosophy, University of Belgrade.
    The statement everyone wants to live a fulfilled and happy life may seem simple, self-evident, and even trivial at first glance. However, upon closer philosophical analysis, can we unequivocally assert that people are truly focused on well-being? Assuming they are, the question becomes: what guidelines should be followed and how should one behave in order to achieve true well-being and attain their goals? One popular viewpoint is that cultivating moral virtues and personal qualities is essential for a life of "true" (...)
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  • Interiorizing Ethics through Science Fiction. Brave New World as a Paradigmatic Case Study.Raquel Cascales - 2021 - In Edward Brooks, Emma Cohen de Lara, Álvaro Sánchez-Ostiz & José M. Torralba (eds.), Literature and Character Education in Universities. Theory, Method, and Text Analysis. Routledge. pp. 153-169.
    Raquel Cascales and Luis Echarte focus on the development of practical wisdom and what they call ‘seeing with the heart’ for science students by means of reading science fiction literature. They argue that literature can bring the student into contact with the reality of moral life as moral dilemmas are made concrete by the characters and circumstances in a novel. They provide an analysis of how Aldous Huxley’s Brave New World can be read in the classroom and show how the (...)
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  • Imagination and Film.Jonathan Gilmore - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 845-863.
    This chapter addresses the application of contemporary theories of the imagination—largely drawn from cognitive psychology—to our understanding of film. Topics include the role of the imagination in our learning what facts hold within a fictional film, including what characters’ motivations, beliefs, and feelings are; how our perceptual experience of a film explains our imaginative visualizing of its contents; how fictional scenarios in films generate certain affective and evaluative responses; and how such responses compare to those we have toward analogous circumstances (...)
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  • Understanding A.I. — Can and Should we Empathize with Robots?Susanne Schmetkamp - 2020 - Review of Philosophy and Psychology 11 (4):881-897.
    Expanding the debate about empathy with human beings, animals, or fictional characters to include human-robot relationships, this paper proposes two different perspectives from which to assess the scope and limits of empathy with robots: the first is epistemological, while the second is normative. The epistemological approach helps us to clarify whether we can empathize with artificial intelligence or, more precisely, with social robots. The main puzzle here concerns, among other things, exactly what it is that we empathize with if robots (...)
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  • Empathy as the Opposite of Egocentrism: Why the Simulation Theory and the Direct Perception Theory of Empathy Fail.Robert Blanchet - 2020 - Topoi 39 (4):751-759.
    This paper presents a new, third-personal account of empathy that characterizes empathy as being sensitive to others’ concerns as opposed to remaining stuck in one’s egocentric perspective on the world. The paper also demonstrates why this account is preferable to its two main rivals, namely the simulation theory of empathy, and the direct perception theory of empathy.
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  • Acting Oneself as Another: An Actor’s Empathy for her Character.Shaun Gallagher & Julia Gallagher - 2020 - Topoi 39 (4):779-790.
    What does it mean for an actor to empathize with the character she is playing? We review different theories of empathy and of acting. We then consider the notion of “twofoldness”, which has been used to characterize the observer or audience perspective on the relation between actor and character. This same kind of twofoldness or double attunement applies from the perspective of the actor herself who must, at certain points of preparation, distinguish between the character portrayed and her own portrayal (...)
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  • Sugar and Spice, and Everything Nice: What Rough Heroines Tell Us about Imaginative Resistance.Adriana Clavel-Vazquez - 2018 - Journal of Aesthetics and Art Criticism 76 (2):201-212.
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  • Fiction Film and the Varieties of Empathic Engagement.Margrethe Bruun Vaage - 2010 - Midwest Studies in Philosophy 34 (1):158-179.
    Mindreading, simulation, empathy and central imagining are often used interchangeably in current analytic philosophy, and typically defined as imagining what the other wants and believes – to run these states “off-line.” By imagining the other’s beliefs and desires, one will come to understand and predict his emotional and behavioural reactions. Many have suggested that films may trigger engagement in the characters’ perspectives, and one finds similar use of these terms in film theory. Imagining the characters’ states – with emphasis on (...)
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  • Structures of Morality and Allegiance in the Character Arc Story.Rory Kelly & Samuel Cumming - 2022 - British Journal of Aesthetics 62 (4):687-698.
    The view that allegiance to characters is a matter of general moral assessment, as developed by Carroll (1984) and Smith (1995), has the resources to respond to counterexamples proposed in the literature, including appeals to anti-heroes, rough heroes and other ‘reprehensible characters’ that garner our allegiance. It can even admit non-moral factors as subterranean influences on moral assessment. Nevertheless, the view requires that the characters we most favour are those with the highest moral standing, and this does not seem to (...)
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  • Fiction, Philosophy, and Television: The Case of Law and Order: Special Victims Unit.Iris Vidmar Jovanović - 2021 - Journal of Aesthetics and Art Criticism 79 (1):76-87.
    This article lies at the intersection of two problems: the one concerning the potential of fictional works to inform us about our social reality and foster our understanding of its various aspects, and the one concerning their potential to engage with philosophical issues. I bring these two together by analyzing the hit television series Law and Order: Special Victims Unit. According to my interpretation, the series is informative about our social world, and it raises philosophical concerns about it. This makes (...)
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  • The Empath and the Psychopath: Ethics, Imagination, and Intercorporeality in Bryan Fuller's Hannibal.Jane Stadler - 2017 - Film-Philosophy 21 (3):410-427.
    The long-form television drama series Hannibal thematises the embodied imagination and the elicitation of empathy and ethical understanding at the level of narrative and characterisation as well as through character engagement and screen aesthetics. Using Hannibal as a case study, this research investigates how stylistic choices frame the experiences of screen characters and engender forms of intersubjectivity based on corporeal and cognitive routes to empathy; in particular, it examines the capacity for screen media to facilitate what neuroscientist Vittorio Gallese terms (...)
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  • Life, Movement and the Fabulation of the Event.John Mullarkey - 2007 - Theory, Culture and Society 24 (6):53-70.
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  • Will the Real Empathy Please Stand Up? A Case for a Narrow Conceptualization.Amy Coplan - 2011 - Southern Journal of Philosophy 49 (s1):40-65.
    A longstanding problem with the study of empathy is the lack of a clear and agreed upon definition. A trend in the recent literature is to respond to this problem by advancing a broad and all-encompassing view of empathy that applies to myriad processes ranging from mimicry and imitation to high-level perspective taking. I argue that this response takes us in the wrong direction and that what we need in order to better understand empathy is a narrower conceptualization, not a (...)
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  • Virtual terrors.Emmanuel Ordóñez Angulo - 2023 - Noûs 57 (4):877-904.
    A long‐standing aim of cinema – in particular of ‘extreme’, ‘unwatchable’ or ‘feel‐ bad’ cinema – has been to acquaint viewers with extreme suffering. In this article I first offer an explication of that aim in terms of recent work in philosophy of mind, then exploit the resulting framework to examine claims to the effect that a new technological development, Virtual Reality, provides cinema's best shot at achieving that aim.
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  • What is the Uncanny? A Philosophical Enquiry.Mark Windsor - 2017 - Dissertation, University of Kent
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  • Bringing Bodies Back In: For a Phenomenological and Psychoanalytic Film Criticism of Embodied Cultural Identity.Kate Ince - 2011 - Film-Philosophy 15 (1):1-12.
    This article reassesses the concept of identification in line with the increased importance phenomenology has taken on in film-philosophy of the 1990s and 2000s. In the 1970s and 1980s, a Lacanian psychoanalytic interpretation of identification dominated film theory and criticism, and spectatorial engagement with elements of films was understood as what psychoanalysis calls secondary identification – the identification with stable subject-positions (characters) in the film-text. But non-Lacanian psychoanalysis and Merleau-Ponty’s existential phenomenology offer film-philosophy a very different understanding of identification as (...)
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  • Empathy and Identification in Cinema.Berys Gaut - 2010 - Midwest Studies in Philosophy 34 (1):136-157.
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  • Murray Smith (2017) Film, Art, and the Third Culture: A Naturalized Aesthetics of Film.Will Kitchen - 2021 - Film-Philosophy 25 (1):83-86.
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  • Mass Effect 2: A Case Study in the Design of Game Narrative.Theresa Jean Tanenbaum & Jim Bizzocchi - 2012 - Bulletin of Science, Technology and Society 32 (5):393-404.
    Digital games have matured substantially as a narrative medium in the last decade. However, there is still much work to be done to more fully understand the poetics of story-based-games. Game narrative remains an important issue with significant cultural, economic and scholarly implications. In this article, we undertake a critical analysis of the design of narrative within Mass Effect 2: a game whose narrative is highly regarded in both scholarly and vernacular communities. We follow the classic humanities methodology of “close-reading”: (...)
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  • Gaining Perspectives on Our Lives: Moods and Aesthetic Experience.Susanne Schmetkamp - 2017 - Philosophia 45 (4):1681-1695.
    This article examines the role of moods in aesthetic experience by focussing on film. It considers specifically the function of moods in relation to narrative and aesthetic perspectives which a film provides and which recipients are invited to adopt. I distinguish superficial transitory moods from profound enduring ones. This differentiation is important with regard to the question why moods in film matter and why they are different from emotions. I will focus on Lars von Trier’s film “Melancholia” and claim that (...)
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  • Backbeat and overlap : time, place, and character subjectivity in Run Lola Run.Michael Wedel - 2009 - In Warren Buckland (ed.), Puzzle films: complex storytelling in contemporary cinema. Malden, MA: Wiley-Blackwell. pp. 129--150.
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  • Mass Effect 2: A Case Study in the Design of Game Narrative.Joshua Tanenbaum & Jim Bizzocchi - 2012 - Bulletin of Science, Technology and Society 32 (5):393-404.
    Digital games have matured substantially as a narrative medium in the last decade. However, there is still much work to be done to more fully understand the poetics of story-based-games. Game narrative remains an important issue with significant cultural, economic and scholarly implications. In this article, we undertake a critical analysis of the design of narrative within Mass Effect 2: a game whose narrative is highly regarded in both scholarly and vernacular communities. We follow the classic humanities methodology of “close-reading”: (...)
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  • Introduction: The Occluded Relation: Levinas and Cinema.Sarah Cooper - 2007 - Film-Philosophy 11 (2):66–87.
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  • Mortal Ethics: Reading Levinas with the Dardenne Brothers.Sarah Cooper - 2007 - Film-Philosophy 11 (2):56-87.
    Prior to the productive encounters that can be staged between Emmanuel Levinas’sthought and cinema at the level of reception, Jean-Pierre and Luc Dardenne introducehis philosophy to their filmmaking at its moment of inception.1Luc Dardenne’s diary Audos de nos images documents their filmmaking from 1991 to 2005, and isinterspersed with brief but erudite references to Levinas’s work. While Levinasianthinking is one among many cited influences in this text, which also features quotationsfrom the writings of novelists, poets, and other philosophers, along with (...)
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  • Bad Faith in Film Spectatorship.William Pamerleau - 2020 - Film-Philosophy 24 (2):122-139.
    This article seeks to develop an under-appreciated aspect of spectator activity: the way in which viewers make use of film to enter or sustain a project of bad faith. Based on Jean-Paul Sartre's account of bad faith in Being and Nothingness (1943), the article explains the aspects of bad faith that are pertinent to viewer activity, then explores the way viewers can make use of filmic depictions to facilitate self-denial. For example, spectators may emphasize the fact that persons are depicted (...)
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  • "Twist blindness" : the role of primacy, priming, schemas, and reconstructive memory in a first-time viewing of The Sixth Sense.Daniel Barratt - 2009 - In Warren Buckland (ed.), Puzzle films: complex storytelling in contemporary cinema. Malden, MA: Wiley-Blackwell. pp. 62--87.
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  • Watching Film with One’s Body.Charles Forceville - 2020 - Evolutionary Studies in Imaginative Culture 4 (2):111-120.
    Film viewers make sense of films first of all at a precognitive level, triggered by their bodi­ly responses. The key notion here is movement: the movements of screen characters, the movements simulated by the viewers who perceive these characters, and the camera move­ments that mediate between the two. This review essay evaluates two monographs: Maarten Coëgnarts’ Embodied Cinema, which expands conceptual metaphor theo­ry to account for film’s unique affordances to communicate embodied meaning; and Vit­torio Gallese's and Michele Guerra’s The Empathic (...)
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  • Narrating and focalizing visually and visual-verbally in comics and graphic novels.Charles Forceville - 2023 - Pragmatics and Cognition 30 (1):180-208.
    Literary narratology has rightly devoted much attention to analysing the source(s) of verbal information about the story world, usually discussed under the label “narration”, and to any agent(s) that present(s) non-verbalized perspectives on it, usually discussed under the label “focalization”. Assessing the identity of narrators and focalizers is crucial for understanding what is going on in the story world. Which narrative agent is in charge? Is the narration and/or focalization layered? If the latter, is there any “colouring” by the higher-level (...)
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  • Fictional Characters, Transparency, and Experiential Sharing.Marco Caracciolo - 2018 - Topoi 39 (4):811-817.
    How can providing less textual information about a fictional character make his or her mind more transparent and accessible to the reader? This is the question that emerges from an empirical study of reader response conducted by Kotovych et al. Taking my cue from this study, I discuss the role of implied information in readers’ interactions with characters in prose fiction. This is the textual strategy I call ‘character-centered implicature.’ I argue that the inferential work cued by implicature creates an (...)
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  • Sympathy for the Other: Female Solidarity and Postcolonial Subjectivity in Francophone Cinema.Kathleen Scott & Stefanie Van de Peer - 2016 - Film-Philosophy 20 (1):168-194.
    In this article we explore how female sympathy and solidarity can be forged between transnational subjects and spectators. In particular, we place cinematic depictions of minority female suffering in the contexts of current feminist and postcolonial praxes. The aim is to demonstrate the ways in which world cinema can produce a transnational feminist solidarity through forms and narratives that reflect the experiences of women as gendered postcolonial subjects. Amongst the female and feminist theorists drawn upon, central to our understanding of (...)
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