portion of this article, further address the performative nature of criticism and its relation to analytic philosophy of film. What does it mean to “perform” criticism? And, as philosophers, what can we learn? Criticism: A Practice In this section
On What We Can Learn
Laura T. Di Summa
This article argues that cognitive film theory has largely overlooked the phenomenon of disgust insofar as it can be racialized, but could be developed to account for it. Critical race theory, especially in its analytic mode, has similarly failed to offer an account of racialized disgust, although some thinkers in the phenomenological tradition have analyzed related phenomena. The article proposes to reconcile these three research areas by drawing on recent work concerning disgust and arguing for its relevance to viewers’ reactions to depictions of race in film, thereby developing an improved set of diagnostic tools for the analysis of cinematic spectatorship. The method used is analytic philosophy of film. The analysis reveals that many viewers embody their sense of race through disgust reactions and that these reactions constitute crucial components regarding how they perceive and understand narrative characters in film.
This article modifies philosopher Tamar Szabó Gendler's theory of imaginative resistance in order to make it applicable to film and analyze a distinctively adverse kind of resistant response to James Cameron's Avatar (2009). Gendler's theory, as she states it, seeks to explain resistance to literary stories in a straightforwardly cognitivist, but narrowly rationalistic fashion. This article introduces elements from recent work at the intersection of philosophy of film and the emotions to augment Gendler's theory so that it can be used to explain why some viewers hesitate or even refuse to imagine some cinematic fictional worlds. The method used is analytic philosophy of film. The analysis reveals that some viewers are cognitively impoverished with regard to imagining race in general: they will likely have extreme difficulty in centrally imagining racially "other" characters, which also bodes ill for their real-world prospects for moral engagements concerning race.