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.
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
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