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Malcolm Turvey

The articles that follow were originally presented at a symposium celebrating the thirtieth anniversary of the publication of David Bordwell’s Narration in the Fiction Film. The symposium was the closing plenary session at the Society for the Cognitive Study of the Moving Image’s annual conference at Birbeck, University of London in June 2015. The book richly deserved this tribute. Whether or not one agrees with the view (which I hold) that Narration in the Fiction Film is the most important work of film theory in film studies since the 1960s, it is without a doubt the founding text of the Society for the Cognitive Study of the Moving Image. Much of the work undertaken in this organization on the psychology, aesthetics, theory, and history of the moving image has its origins in this book, and it is, to use a much overused word, seminal.

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Malcolm Turvey

This article questions the priority that Carl Plantinga accords to the viewer’s emotions in his theory of the rhetorical power of screen stories, and makes the case that reason, in the sense of practical reasoning, plays just as important a role as emotion in our ethical response to such fictions. Practical reasoning is the form of reasoning concerned with the actions of agents and what they should do in specific situations. The protagonists of screen stories often engage in practical reasoning, articulating and deliberating about the reasons for their actions, and secondary characters around them regularly question their reasons. In this way, these stories prompt us to understand and question their reasons too and thereby to engage in practical reasoning, a species of which is moral reasoning. Screen stories also often stage a confrontation between divergent ethical perspectives and ask audiences to reflect about which one is more morally compelling.

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Malcolm Turvey, Mette Hjort, Julian Hanich and Christopher T. Gonzalez

ELEGY FOR THEORY by D.N. RODOWICK

Malcolm Turvey

COGNITIVE MEDIA THEORY by TED NANNICELLI AND PAUL TABERHAM (EDS.)

Mette Hjort

THE FORMS OF THE AFFECTS by EUGENIE BRINKEMA

Julian Hanich

MEX-CINÉ: MEXICAN FILMMAKING, PRODUCTION, AND CONSUMPTION IN THE TWENTY-FIRST CENTURY by FREDERICK LUIS ALDAMA

Christopher T. Gonzalez

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Paul Messaris, Cynthia Freeland, Sheena Rogers, Malcolm Turvey, Greg M. Smith, Daniel T. Levin, Alicia M. Hymel and Tim J. Smith

CONTINUITY AND ITS DISCONTENTS

Paul Messaris

CONTINUITY, NARRATIVE, AND CROSS-MODAL CUING OF ATTENTION

Cynthia Freeland

AUTEUR OF ATTENTION: THE FILMMAKER AS COGNITIVE SCIENTIST

Sheena Rogers

THE CONTINUITY OF NARRATIVE COMPREHENSION

Malcolm Turvey

CONTINUITY IS NOT CONTINUOUS

Greg M. Smith

MAKING THE CASE FOR NONPREDICTIVE CONTINUITY PERCEPTION

Daniel T. Levin and Alicia M. Hymel

EXTENDING ATOCC: A REPLY

Tim J. Smith